Violin
SYLLABUS / 2013 EDITION
Contents
About Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Why Choose the Music Development Program? . . . . . . . 4
Getting Started in the Music Development Program . . . . 5
Recognition of Achievement . . . . . . . . . . . . . . . . . . . . . . 6
Assessment Regulations
Assessment Procedures . . . . . . . . . . . . . . . . . . . . . . . . . 77
Credits and Refunds for Missed Assessments . . . . . . . . 77
Students with Special Needs . . . . . . . . . . . . . . . . . . . . . 78
Assessment Requirements
Assessment Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Academic Assessments . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Supplemental Assessments . . . . . . . . . . . . . . . . . . . . . . 81
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8
Split Level 10 Performance Assessments . . . . . . . . . . . . 81
Assessment Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Performance Assessment Certificates . . . . . . . . . . . . . . 81
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10
Certificates of Excellence. . . . . . . . . . . . . . . . . . . . . . . . 81
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11
Editions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Table of Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Level-by-Level Requirements
Thematic Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Preparatory Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Resources
Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Level 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 87
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Violin Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Level 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Level 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Level 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Level 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Level 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Level 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Associate Diploma in Violin Performance . . . . . . . . . . . 71
Teacher’s Associate Diploma . . . . . . . . . . . . . . . . . . . . . 75
Register for an Assessment . . . . . . . . .
76
Performance Assessment Day
Checklist for Students
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . . 91
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
What to Expect from a Violin Assessment. . . . . . . . . . . 91
After the Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
About Us
Inspire the desire to aspire.
Music is One of Our Greatest Tools for Learning and Development.
Music has the power to change lives, build strong communities, and enrich societies.
Ultimately, people turn to music to form a deep connection with others and to satisfy
their abiding need for meaning.
The Royal Conservatory Music Development Program provides a recognized
national standard of success in music study through an effectively sequenced course
from beginner to advanced levels. The program inspires excellence through individual
student assessments and allows students to track their progress with others across the
country. All students in the United States deserve the opportunity to celebrate their
musical achievements nationally. Join the growing community of teachers, students,
and families who are discovering the benefits of the Music Development Program as it
enriches their lives!
The Music Development Program offers a flexible program with comprehensive
assessments that include:
• Preparatory Levels
• Levels 1–10
• Associate diplomas in performance and pedagogy
• Licentiate diploma in performance for piano
Student Certificates are awarded for the successful completion of each level. Certificates
of Excellence are also awarded for outstanding achievement.
The Music Development Program provides comprehensive publications and tools for
music and arts educators and their students, including detailed syllabi, repertoire lists,
and innovative teaching resources. These resources, published by Frederick Harris
Music, support teachers and students in the study of cello, clarinet, flute, guitar, piano,
saxophone, trumpet, viola, violin, and voice, as well as the academic subjects of theory,
harmony, analysis, history, and pedagogy. In addition, Frederick Harris Music publishes
related resources for musicianship including aural skills, sight reading, and technique.
With more than 100 years of experience in the industry, their publications are of the
highest quality. Frederick Harris Music’s award-winning materials such as Celebration
Series Perspectives® have earned a reputation as an internationally proven standard of
excellence.
Find out more at www.MusicDevelopmentProgram.org.
3
About Us
Why Choose The Music
Development Program?
A Comprehensive Program of Musical Development
The Music Development Program encompasses four main areas:
Repertoire
• Each level includes a broad selection of pieces representing a variety of styles and
periods.
• Repertoire selections are leveled progressively by difficulty.
• Periodic reviews of the repertoire keep the selections fresh and innovative.
• Teachers and students can add favorite pieces through the Student’s Choice selections.
Technique
• Each level of technique is designed to support the demands of the repertoire for that
level.
• Technique includes scales, chords, arpeggios, and etudes.
Musicianship
• A thoughtful and consistent approach to the development of reading and aural skills.
• Musicianship skills are developed in conjunction with repertoire goals and
requirements.
• Musicianship skills give students a solid foundation for independent creative musical
explorations.
Musical Literacy
• The Music Development Program’s academic subjects support students in acquiring
the theoretical and historical knowledge necessary for music literacy.
• Academic levels are tied to performance levels, reinforcing concepts encountered in
repertoire, technique, and musicianship studies.
Why Choose the Music Development Program?
4
Getting Started in the Music
Development Program
How Do I Submit Students For Assessment?
Online Assessment Registration
You can submit students for assessment by registering at
www.MusicDevelopmentProgram.org.
Online Assessment Results
Students and teachers can access assessment results online within six weeks of the
assessment at www.MusicDevelopmentProgram.org.
Entering the Music Development Program
How Do I Know What Level is Appropriate For My Student?
Students can enter the Music Development Program at any level. They can move from
level to level at their own pace. Students and teachers should consult the syllabus to
determine the appropriate level.
• Many students and teachers start with the repertoire selections. The wide range of
selections in the Music Development Program repertoire lists makes it easy to match
each student to a level.
• Review the scale and arpeggio patterns required at that level, noticing keys, tempos,
and formats. You may find that your student is ahead in some areas, but requires
further development in others. Consider those elements that are already firmly in your
student’s grasp and decide which ones need additional review.
• Finally, look at the musicianship requirements.
What if My Student’s Repertoire Level is Higher Than His or Her
Technical and Musicianship Levels?
• If your student’s abilities in the areas of technique, aural skills, or reading skills are
behind his or her current repertoire level, we generally advise that you opt for a lower
level.
• At each level there is a range of challenge in the repertoire lists. Your student has the
option of substituting a piece from the next higher level for one assessment selection.
• Planning your students’ progress in this way allows them to focus on the higher
levels of music making, the finesse of their performance, and the pleasure of
accomplishment.
• Your students will enjoy a high level of performance success while also securing
necessary musicianship skills that will provide them with a stronger foundation.
Who Will Assess My Students?
• The Music Development Program is adjudicated by a professional body of
distinguished teachers and performers from across North America, each of whom is a
specialist in one or more areas represented in the program.
• Adjudicators undergo a competitive admissions process and must meet a minimum
qualifying standard before being accepted as apprentice adjudicators.
• Apprentices complete an intensive series of lectures, demonstrations, and a
practicum, coupled with a full year of observation in the field before promotion to full
adjudicator.
• All adjudicators engage in yearly professional development and are subject to annual
performance reviews.
5
Getting Started in The Music Development Program
Recognition of
Achievement
The Assessment Experience
The Music Development Program includes two different types of assessments:
performance and academic. Both create an opportunity to recognize achievement and
receive meaningful feedback.
Performance Assessments
• are a comprehensive evaluation of a student’s current abilities on a chosen
instrument, including voice
• are designed to be a warm and welcoming experience, one-on-one with a
professional, program-certified adjudicator
• include a report from the adjudicator providing a breakdown of the numerical grade
and constructive written comments
• are held throughout the year, with all scheduling and location arrangements made by
the Music Development Program
What Can My Student Expect in a Performance Assessment?
Performance Assessments evaluate the following areas of your student’s musical
development:
• performance of three to five pieces of repertoire depending on level
• performance of one or two etudes that focus on an aspect of performance skill
appropriate for the level
• beginning at Level 7: performance of one or two excerpts from the orchestral
repertoire
• performance of technical skills such as scales, chords, and arpeggios, which progress
in difficulty from level to level in a manner consistent with the technical demands of
the repertoire. An assessment includes a representative sampling from the published
list of requirements.
• an evaluation of musicianship skills, appropriate for the level, through aural
identification of intervals, chord qualities, cadences, and ear-to-hand playbacks of
rhythms and melodies. A demonstration of rhythmic reading and sight playing ability
further supports music literacy.
Academic Assessments
• Students complete a written assessment of their academic knowledge in a classroom
setting.
• Academic assessments are held throughout the year, with all scheduling and location
arrangements made by the Music Development Program.
Certificates of Achievement
Certificates of Achievement are awarded to all students upon successful completion of
any assessment.
The Comprehensive Achievement Certificate is awarded to students who have completed
both the performance and academic assessments for a specific level, beginning in
Level 5. No application is necessary for the Comprehensive Achievement Certificate.
Certificates of Excellence
These certificates are awarded to students who earn the highest marks for their
performance assessment level. To be eligible, students must receive a minimum mark of
80% for their performance assessment and have completed all theory co-requisites for
the level. No application is necessary.
Recognition of Achievement
6
Assessment Requirements
Academic Assessments
Essential Tools for Musical Development
• Violin students are encouraged to begin academic and piano studies as early as
possible.
• Beginning at Level 5, students must complete the required academic assessments in
order to receive Comprehensive Achievement Certificates.
See the current
edition of the Theory
Syllabus for detailed
academic assessment
requirements.
Overview of Academic Subjects
The following table lists all of the written academic assessments in the Music
Development Program with brief details, including the length of the assessment and a
summary description of the content.
Subject
Rudiments
Harmony and
Counterpoint
Analysis
History
Academic Assessment Title
Preparatory Rudiments (1 hour)
– Building blocks of music notation
Basic Rudiments (1 hour)
– Elements of music for the beginner
Intermediate Rudiments (2 hours)
– Continuation of basic rudiments
Advanced Rudiments (2 hours)
– Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
– Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
– Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
– Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
– Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
or
Intermediate Keyboard Harmony (25 minutes)
– Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
– Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
– Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
– Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
– Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
– Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
– Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
– Styles, composers, and music of the Romantic era to the present
7
Assessment Requirements
Preparing for an Academic Assessment
• Academic assessments test music theory and knowledge of music history in a formal
classroom setting, generally with a written assessment.
• Official Assessment Papers, available at music retailers, are published annually by
Frederick Harris Music to aid with assessment preparation.
Co-requisites and Prerequisites
The following table summarizes all the co-requisite and prerequisite assessments
required to obtain certificates for Levels 5 to 10 and diplomas for the Associate
Diploma in Violin Performance or the Teacher’s Associate Diploma. There are no
prerequisite or co-requisite academic assessments for Preparatory to Level 4. However,
it is recommended that students complete Preparatory Rudiments prior to Basic
Rudiments. Similarly, it is recommended that students complete Introductory
Harmony prior to Basic Harmony.
Students for the Associate Diploma in Violin Performance or the Teacher’s Associate
Diploma will be required to complete the following academic assessments: History
3: 19th Century to Present, and two of the following three assessments: Advanced
Harmony/Advanced Keyboard Harmony, or Counterpoint, or Analysis. The selection
of these assessments and the order in which they are taken is at the discretion of the
student.
Students for the Associate Diploma in Violin Performance must complete co-requisite
academic assessments and the Level 6 Piano assessment before or within five years of
the original performance assessment to be eligible for the Associate Diploma.
Students must complete prerequisite assessments at least one session prior to attempting
the Associate Diploma in Violin Performance. For up-to-date information on the Teacher’s
Associate Diploma please consult MusicDevelopmentProgram.org.
Level
5
6
7
8
9
10
Required Assessments (C = Co-requisite P = Prerequisite)
Basic Rudiments
C
Intermediate Rudiments
C
Advanced Rudiments
C
C
C
C
Basic Harmony
C
Intermediate Harmony
C
Any two of: Advanced Harmony, or
Counterpoint, or Analysis
History 1: An Overview
C
C
History 2: Middle Ages to Classical
C
History 3: 19th Century to Present
Level 10 Performance
Level 6 Piano
Level 8 Piano
Alternative Assessments
Basic Keyboard Harmony
C
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
C
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
(can be substituted for Advanced Harmony)
Assessment Requirements
8
Associate
Diploma in
Performance
Teacher’s
Associate
Diploma
P
P
P
P
C
C
P
P
C
P
C
P
P
C
P
C
P
P
C
C
Assessment Repertoire
The Violin Syllabus, 2013 Edition lists the repertoire for violin assessments. Information
given for each item includes:
• the composer
• the title of the selection
• the larger work of which the selection is a part (where applicable)
• an anthology or collection in which the selection can be found (where applicable)
• performance directions (where applicable) indicating the section(s) of a work to be
prepared
• the publisher of a suggested edition (where applicable)
Names of publishers are indicated by an assigned abbreviation. Please see p. 83
for a list of publishers with their abbreviations.
Syllabus Repertoire Lists
At each level, students are encouraged to choose a balanced and varied assessment
program that includes a variety of musical styles and keys. The repertoire for each level
is divided into lists, according to genre or stylistic period.
Preparatory, Level 1, and Level 2
List A: Pieces in a Slower Tempo
List B: Pieces in a Faster Tempo
Level 3
List A: Repertoire in Baroque and Classical Styles
List B: Traditional and Romantic Repertoire
List C: Repertoire Composed After 1930
Level 4
List A: Concertos, Sonatinas, and Fantasias
List B: Repertoire in Baroque Style
List C: Concert Repertoire
Level 5, Level 6, and Level 7
List A: Concertos, Airs variés, and Fantasias
List B: Sonatas and Sonatinas
List C: Concert Repertoire
Level 8
List A: Concertos, Airs variés, and Fantasias
List B: Sonatas and Sonatinas
List C: Concert Repertoire
List D: Unaccompanied Repertoire
Level 9
List A: Concertos and Airs variés
List B: Sonatas and Sonatinas
List C: Concert Repertoire
List D: Unaccompanied Repertoire of Johann Sebastian Bach
Level 10
List A: Concertos
List B: Sonatas
List C: Concert Repertoire
List D: Unaccompanied Repertoire of Johann Sebastian Bach
9
Assessment Requirements
Associate Diploma in Violin Performance
List A: Concertos
List B: Sonatas
List C: Concert Repertoire
List D: Unaccompanied Repertoire
Da Capo Signs and Repeats
• When performing repertoire in an assessment, students should observe da capo and
dal segno signs, unless stated otherwise in the Violin Syllabus, 2013 Edition.
• Repeat signs should be observed only if indicated in the Violin Syllabus, 2013 Edition or
in Violin Series, 2013 Edition.
Memory
At Preparatory through Level 6, six marks are awarded for the memorization of
repertoire.
• Three marks are awarded for each repertoire selection performed by memory in
Preparatory and Levels 1 and 2.
• Two marks are awarded for each repertoire selection performed by memory in Levels
3 and 4.
• In Levels 5 and 6, three marks are awarded for each repertoire selection from Lists
A and C performed by memory. List B selections need not be performed by memory,
and no extra marks will be awarded for memorization.
At Level 7 through Associate Diploma, students are expected to perform all repertoire
by memory, with the exception of List B selections, which do not need to be memorized.
• A memory mark deduction of 10% per repertoire selection will be made for pieces
from Lists A, C, and D that are performed with music.
• List B selections need not be performed by memory, and no extra marks will be
awarded for memorization.
Students must provide
their own collaborative
pianist in order for the
assessment to proceed.
Accompaniment
All selections requiring accompaniment must be performed with piano accompaniment
only. No other instruments are permitted. Recorded accompaniment is not permitted.
Students must provide their own collaborative pianist. Collaborative pianists are
permitted in the assessment room only while they are playing accompaniments for the
student.
Repertoire Substitutions
Violin students at Levels 1 through Associate Diploma have the option of substituting
one repertoire selection at each assessment with a selection of their own choice.
Repertoire substitutions for Violin fall under the following categories.
Syllabus Substitutions (Official approval of the substitute selection is not required prior to the assessment.)
Students in Level 1 through 10 may substitute one repertoire selection from the
Level immediately above in place of a selection at the student’s assessment level.
The repertoire substitution must be chosen from the corresponding List of the Level
immediately above the student’s official Level. For example, a Level 5 List A selection
may be performed in place of a Level 4 List A selection.
Please note that the performance of repertoire substitutions chosen from a higher level
will be evaluated at the standard of the higher level. NOTE: No Syllabus substitution is
allowed for Level 10 List D repertoire.
Assessment Requirements
10
Non-Syllabus Substitutions—“Student’s Choice”
(Official approval of the substitute selection is not required prior to the assessment.)
Violin students in Levels 1 through 10 and Associate Diploma may perform one
repertoire selection of their own choice in place of a selection listed in the current
Syllabus. Students are asked to mark such replacement selections as “Student’s Choice”
on the list of repertoire they submit to the adjudicator. The repertoire substitution
must be comparable in difficulty, length, style, and musical quality to works on the
corresponding Syllabus list for the student’s level. Please note that the substitute
selection must replace a repertoire selection and that piano accompaniment is
required where provided by the composer. Substitutions are not permitted for Etudes
and Orchestral Excerpts.
The mark for the performance of the substitute selection will include an assessment
of the appropriateness of the choice. A substantial mark deduction may be applied if
a substitution is considered inappropriate. Students performing a Student’s Choice
selection that exceeds the expected length of a repertoire selection for the student’s level
may be stopped by the adjudicator, who will provide an assessment of the performance
to that point.
It is the responsibility of the teacher to provide advice regarding the appropriateness of
Student’s Choice Substitutions.
NOTE: In Levels 8, 9, 10, and at the Associate Diploma Level, Non-Syllabus
substitutions are not permitted for List D selections.
Orchestral Excerpts
All orchestral excerpts listed in the Violin Syllabus, 2013 Edition are included in Violin
Series, 2013 Edition: Orchestral Excerpts. Alternatively, students may select the specified
passages from standard violin orchestral parts.
Students are expected to play chords as they would in an orchestral setting. Unless
specifically marked “non divisi,” students should play the upper note only, or the upper
two notes of three- or four-note chords.
Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on assessment requirements for orchestral excerpts,
please consult the listings for each level.
Technical Requirements
Etudes
A selection of etudes for Preparatory through Level 8 is published in Violin Series,
2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Etudes need not
be memorized and no extra marks will be awarded for memorization. For details on
assessment requirements for etudes, please consult the listings for each Level.
Technical Tests
Complete technical tests for Preparatory through Level 8 are published in Violin Series,
2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Technical tests
(scales, arpeggios, and double stops) must be played from memory. No marks will be
awarded for technical tests that are not performed from memory. For further details on
assessment requirements for technical tests, please consult the listings for each level.
11
Assessment Requirements
General Instructions
• The adjudicator will choose a representative sampling of items on the technical
requirements list.
• Metronome speeds are intended as a guideline. The tempo should be compatible with
the required number of notes per bow, a clear and sonorous tone, controlled rhythm,
and precise intonation.
• Vibrato is not recommended. If used, it should be limited to final tonic notes.
• The fingering shown in Violin Series, 2013 Edition: Violin Technique and Etudes is
recommended but not compulsory. Any logical fingering pattern is acceptable.
• One- and two-octave scales must be played with the patterns shown in the Violin
Syllabus, 2013 Edition.
• Three-octave scales from Levels 5 through 8 may be played with either of the
following patterns, provided they are played with the required number of notes per
bow as stipulated in the Violin Syllabus, 2013 Edition. Students in Levels 9 and 10 may
use either of the following patterns, or the Carl Flesch patterns.
Pattern A–Galamian Pattern
Pattern B
Assessment Requirements
12
Level-by-Level Requirements
Preparatory Level
Students at the Preparatory Level are expected to exhibit
developing bow control and some understanding of bow
division. There should be evidence of a steady, rhythmic
pulse. Whole steps and half steps should be well defined.
Good posture and hand set-up are important factors.
Preparatory Level Requirements
List A
Pieces in a Slower Tempo
Traditional
l Go Tell Aunt Rhody (in Suzuki Violin School, Revised
Edition, 1 ALF)
Marks
Repertoire
one selection from List A
one selection from List B
Memory (3 marks per repertoire selection)
60
27
27
6
Technical Requirements
Etudes: one etude from the Syllabus list
Technical Tests
– scales
– arpeggios
30
15
15
Aural skills
Clapback
Playback
10
5
5
Total possible marks (pass = 60)
100
Archer, Violet
Twelve Miniatures WAT
u
On Tiptoe
Bayly, Thomas H.
l Long, Long Ago (in Suzuki Violin School, Revised
Edition, 1 ALF)
Bennett, Richard Rodney
Up Bow, Down Bow NOV
l Serenade
Birston, Harold
Excursions for Violin FHM
u
In Ancient Times
Blachford, Frank
u
Berceuse FHM
Academic Co-requisite
None
Colledge, Katherine, and Hugh Colledge
Waggon Wheels B&H
l Goldfish Bowl
u
Nightingale
l Waterfall
Repertoire
Coulthard, Jean
u
The Climb Up Mount Royal
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
de Keyser, Paul
Violin Playtime, 1 FAB
l The Bells of St. Basil’s
u
Poème
Students must prepare two contrasting selections by
two different composers: one from List A and one from
List B.
Hayes, Philip
u
Canon (arr. Paul de Keyser in The Young Violinist’s
Repertoire, 1 FAB)
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition:
Preparatory Violin Repertoire FHM
Huws Jones, Edward
The Really Easy Violin Book FAB
l Dinosaur Plod
Norton, Christopher
Microjazz Violin Collection, 1 B&H)
l Up the Scale
Rose, Michael
u
Song
13
Preparatory
Technical Requirements
List B
Pieces in a Faster Tempo
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Traditional
l May Song (in Suzuki Violin School, Revised Edition, 1
ALF)
l O Come, Little Children (in Suzuki Violin School,
Revised Edition, 1 ALF)
u
The Old Woman and The Peddler (arr. Akiko Kinney
FHM)
u
Playing Ball (arr. Stephen Chatman FHM)
l Song of the Wind (in Suzuki Violin School, Revised
Edition, 1 ALF)
Etudes
Students must prepare one etude from the following list.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM
Baratt, Carol
Bravo! Violin B&H
l Round Dance
u
Quirk
Anderson, Gerald E. and Robert S. Frost
All for Strings: A Comprehensive String Method, 1 KJO
u
D Scale Waltz
Avsharian, Evelyn
Fun with Basics: Children’s Music Series CHD
l one of nos. 1, 3, 7
Birston, Harold
Excursions for Violin FHM
l I’m Crazybusy, I’m Tired
u
The Old Jalopy
→ with repeat
Cohen, Mary
Superstudies for Violin 1 FAB
u
Blast Off! (no. 1)
l Robots Rocking at the Microchip Ball (no. 5)
Colledge, Katherine, and Hugh Colledge
Waggon Wheels B&H
l Bell-ringers
u
Knickerbocker Glory
l Polka Dots
de Keyser, Paul
Violin Playtime Studies FAB
l Birdsong (no. 5)
l The Bouncing Ball (no. 12)
l Galloping Arpeggios (no. 11)
l G String Ländler (no. 9)
l The Little Jester (no. 13)
l Tick Tock Quavers (no. 7)
Coulthard, Jean
l Let’s Play (in The Encore Series for Violin & Piano, 2
FHM)
Ethridge, Jean
u
The Subway Train FHM
Donkin, Christine
Get Fiddlin’! FHM
l Beaver Mines (no. 1)
Huws Jones, Edward
The Really Easy Violin Book FAB
l Spine Chiller
u
Tap Dance
Givens, Shirley
Adventures in Violinland, 1F GIV
u
Aren’t You Glad?
u
Marching Notes
Adventures in Violinland, 2B GIV
l The Laughing Fit
l Lovely Melody
l The Mountain Train
l On My Toes
l The Riveter
l Two of Us
Janáček, Leoš, arr.
u
Konopě (The Old City) (transc. Leoš Faltus in
Mährische Tänze für Violine und Klavier UNI)
Kabalevsky, Dmitri
u
Peter (transc. Konstantin Fortunatov in Kabalevsky:
Albumstücke PET)
Krasev, A.
u
Pony Trot (in The Young Violinist’s Repertoire, 1 FAB)
Harris, Paul
Improve Your Scales!, 1–2 FAB
l Acrobatic Armadillos
l Delicate Dance
u
Dragon Drama!
Nelson, Sheila M.
Piece by Piece, 1 B&H
u
Flag Dance
l Over the Moon
Rose, Michael
u
March
RT, Zav, arr.
Fiddleworks, 1 FHM
u
Cripple Creek
Suzuki, Shin’ichi
l Allegro (in Suzuki Violin School, Revised Edition, 1 ALF)
Preparatory
14
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment. Students must
play scales and arpeggios from memory.
Scales
Major
Keys
D, A
Range
1 octave
start on open string
D, A
1 octave
start on open string
Tempo
Bowing
= 60
Arpeggios
Major
= 60
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
two to four measures
Example only
Playback
Students will be asked to play back a melody on the violin, based on the first three notes of a major scale. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
Approximate Length
tonic
D, A major
four notes
Example only
15
Preparatory
Level 1
Students in Level 1 should be able to play whole bows,
slurs, legato, and staccato strokes. There should be evidence
of a steady, rhythmic pulse. Tone should be clear and
some variety in dynamic levels should be present. Tonality
should be well centered.
Level 1 Requirements
Birston, Harold
Excursions for Violin FHM
u
March of the Elephants
Carse, Adam
Fiddle Fancies S&B
l Bluebell Chimes
u
Sweet Sorrow
Marks
Repertoire
one selection from List A
one selection from List B
Memory (3 marks per repertoire selection)
60
27
27
6
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
30
15
15
Aural skills
Clapback
Playback
10
5
5
Total possible marks (pass = 60)
100
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Bear (Der Bär)
Colledge, Katherine, and Hugh Colledge
Waggon Wheels B&H
l Bow Ties!
l Full Moon
Coulthard, Jean
u
Grandfather Tells a Witch Story
u
A Song for Bedtime
Cui, César
u
From My Homeland (arr. Paul de Keyser and Fanny
Waterman in The Young Violinist’s Repertoire, 3 FAB)
Donkin, Christine
Costume Party FHM
l The Sasquatch
u
The Tooth Fairy
Academic Co-requisite
None
Repertoire
Elgar, Edward
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
u
Andante in C Major (no. 1)
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Handel, George Frideric
u
Air from Rinaldo (arr. Kathleen Wood FHM)
l Chorus from Judas Maccabaeus (in Suzuki Violin
School, Revised Edition, 2 ALF)
Students must prepare two contrasting selections by two
different composers, one from List A and one from List B.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 1 FHM
Huws Jones, Edward
The Really Easy Violin Book FAB
l Skye
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u
A Song (no. 6)
List A
Pieces in a Slower Tempo
Lawes, Henry
l A Canzonet (arr. Thomas Dunhill in Fiddler’s Choice,
1 ABR)
Traditional
l All Through the Night (arr. Barbara Barber in Solos
for Young Violinists, 1 ALF)
u
Un Canadien errant (The Wandering Canadian) (arr.
David Duke in The Encore Series for Violin & Piano, 2
FHM)
l On the Wing (arr. Carol Barratt in Bravo! Violin B&H)
Popp, Paulette, arr. Christine Gale
u
The Plucky Snake
Sugár, Rezso
Song and Dance (in Violin Music for Beginners, 1 EMB)
l complete
Bartók Béla
l Andante (arr. Ede Zathureczky, no. 8 in For Children
(Gyermekeknek) EMB)
Level 1
Suzuki, Shin’ichi
l Andantino (in Suzuki Violin School, Revised Edition, 1
ALF)
16
List B
Pieces in a Faster Tempo
Lumsden, Caroline, and Ben Attwood
Wizard’s Potion PET
u
Dizzy Lizzy Lightweight
l Jump Slimy Toad
Anonymous
u
Caterpillar! Caterpillar! (arr. Akiko Kinney FHM)
l Contredanse (in Violin Playtime, 2 FAB)
l Minuet (attr. William Duncombe, arr. Carol Barratt,
in Bravo! Violin B&H)
l Untitled Reel 1 (arr. John Beckwith, in Eight
Miniatures from the Allen Ash Manuscript FHM)
Mackay, Neil
Four Modern Dance Tunes S&B
u
Cha-Cha
→ omit repeat
Matz, Rudolph
A Spring Day – Seven Short Pieces
l With Friends UMP
Bach, Johann Sebastian
l Minuet 1 from Suite in G Minor, BWV 822 (arr. in
Suzuki Violin School, Revised Edition, 1 ALF)
Murray, Eleanor, and Phyllis Tate
Tunes for My Violin B&H
l The Gypsy Fiddler
Bartók Béla
l Allegro non troppo (arr. Ede Zathureczky, no. 1 in
For Children (Gyermekeknek) EMB)
u
Dance (Táncdal) (arr. Ede Zathureczky, no. 5 in For
Children (Gyermekeknek) EMB)
Nelson, Sheila M.
Piece by Piece, 1 B&H
u
Whirlpool Waltz
Piece by Piece, 2 B&H
l Dance of the Minor Thirds
l Merry Go Round
Carse, Adam
The Fiddler’s Nursery S&B
l A Bumpkin’s Dance
l At Dawn
l Dance Steps
l Minuet
Norton, Christopher
Microjazz Violin Collection, 1 B&H
u
Snooker Table
Schumann, Robert
l The Happy Farmer (arr. in Suzuki Violin School,
Revised Edition, 1 ALF)
u
Soldier’s March, op. 68, no. 2 (arr. FHM)
→ with repeat
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Kangaroo (Das Känguru)
l Two Little Donkeys (Zwei kleine Esel)
Suzuki, Shin’ichi
l Allegretto (in Suzuki Violin School, Revised Edition, 1
ALF)
Colledge, Katherine, and Hugh Colledge
Fast Forward B&H
l Hallowe’en
l Singapore Sunset
Waggon Wheels B&H
u
Lollipop Man
Technical Requirements
Donkin, Christine
Costume Party FHM
u
The Cowboy
l The Magician
l The Pirate
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Elgar, Edward
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
l Allegretto in C Major (no. 2)
Students must prepare two technically contrasting etudes
from the following list.
Etudes
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM
Huws Jones, Edward
The Really Easy Violin Book FAB
l Boogie
u
Pipe and Tabor
Janáček, Leoš, arr.
u
Moravian Dance (Dymák) (transc. Leoš Faltus in
Mährische Tänze für Violine und Klavier UNI)
Anonymous
u
Bow Division FHM
Cohen, Mary
Superstudies for Violin, 1 FAB
l Rocking Rowboats (no. 6)
l Space Walk (no. 4)
Superstudies for Violin, 2 FAB
u
Gliding Along at the Octopus Ball (no. 9)
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
l Dance Song (no. 10)
l Games (no. 3)
u
March (no. 5)
17
Level 1
de Keyser, Paul
Violin Playtime Studies FAB
l Chugging Along (no. 25)
l Courageous Crotchets (no. 10)
l Legato Leaps (no. 14)
l Puppet on Two Strings (no. 8)
l The See-Saw (no. 2)
Harris, Paul
Improve Your Scales!, 1–2 FAB
l Amusement Arcade
l Apish Antics
l Gentle Genie
Kinsey, Herbert
Elementary Progressive Studies, set 1 ABR
l one of nos. 1, 2, 7
Donkin, Christine
Get Fiddlin’! FHM
l Athabasca (no. 5)
l Crowsnest Pass (no. 2)
u
Nojack (no. 14)
Metz, Louis
Vioolmethode, 2 B&V
l no. 48
Romberg, Bernhard Heinrich
u
Andante (arr. A. Baird Knechtel)
Entezami, Ramin
Melodious Etudes in First Position FIS
u
The Little Eel (no. 9)
Suzuki, Shin’ichi
Suzuki Violin School, Revised Edition, 1 ALF
l Etude (with sixteenth-note variation)
l Perpetual Motion in A Major (with sixteenth-note
variation)
l Perpetual Motion in D Major (with sixteenth-note
variation)
Gale, Christine
u
The Sulky Sailor
Givens, Shirley
Adventures in Violinland, 2B GIV
u
Tuning Up!
Telfer, Nancy
Ready to Go?
u
Little Red Sportscar
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.
Scales
Keys
Range
Major
G
C
A, D
2 octaves
1 octave
1 octave
start on open string
= 69
G
C
A, D
2 octaves
1 octave
1 octave
start on open string
= 69
Harmonic Minor
Tempo
Bowing
Arpeggios
Major
Major
Minor
Double Stops*
Exercise on Open Strings
= 69
*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.
Level 1
18
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time
Signatures
Approximate Length
three to four measures
Example only
1
2
Playback
Students will be asked to play back a melody on the violin, based on the first three notes of a major scale. The melody
may contain repeated notes and a leap of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the
melody twice on the piano.
Beginning Note
tonic
Keys
D, A major
Approximate Length
four notes
Example only
1
2
19
Level 1
Level 2
Barnes, Milton
Three Folk Dances
u
Folk Dance No. 2
Students in Level 2 should be able to play in all parts of
the bow with good control and should be able to execute
slurs, legato, and staccato strokes. Tone should be clear and
some variety in dynamic levels should be present. Whole
steps and half steps should be clearly defined in 1st and
3rd positions and tonality should be well centered in both
major and minor keys.
Level 2 Requirements
Bartók, Béla
l Chanson du Vagabond (Betyár Nóta) (arr. Ede
Zathureczky, no. 4 in For Children (Gyermekeknek)
EMB)
Bayly, Thomas H.
l Long, Long Ago (with variation) (in Suzuki Violin
School, Revised Edition, 2 ALF)
Marks
Repertoire
one selection from List A
one selection from List B
Memory (3 marks per repertoire selection)
60
27
27
6
Beethoven, Ludwig van
l Abschied (arr. Alfred Moffat in Old Fiddle Pieces,
OTT)
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
30
15
15
Bennett, Richard Rodney
Up Bow, Down Bow NOV
l A Little Elegy
u
A Quiet Conversation
Aural skills
Clapback
Intervals
Playback
10
3
3
4
Total possible marks (pass = 60)
100
Colledge, Katherine, and Hugh Colledge
Fast Forward B&H
l Snake Charmer
u
Wondering
Shooting Stars B&H
u
The Misty Isle
Coulthard, Jean
l A Little Sorrow (in The Encore Series for Violin &
Piano, 2 FHM)
Academic Co-requisite
None
Donkin, Christine
Costume Party FHM
l The Acrobat
Repertoire
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Elgar, Edward
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
l Andante in A Minor (no. 3)
u
Andantino in G Major (no. 4)
Students must prepare two contrasting selections by two
different composers, one from List A and one from List B.
Ethridge, Jean
u
Cradle Song (in The Encore Series for Violin & Piano, 2
FHM)
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 2 FHM
Halvorsen, Johan
u
Mélodie (arr. Warren Mould FHM)
Heins, Donald
The Bell Boy Suite FHM
u
Prelude: “Calling Mr. Eccles”
u
Aria and Bourrée
List A
Pieces in a Slower Tempo
Archer, Violet
Twelve Miniatures WAT
l In Church
Hook, James
l Tempo di menuetto (arr. Alfred Moffat in Old Masters
for Young Players, 3 OTT)
Bach, Johann Sebastian
l Musette from English Suite No. 3, BWV 808 (arr. in
Suzuki Violin School, Revised Edition, 2 ALF)
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u
Dreamers (no. 19)
l Melody (no. 14)
Level 2
20
Laoureux, Nicolas
l Petite Berceuse FRB
Colledge, Katherine, and Hugh Colledge
Fast Forward B&H
u
The Ceilidh
l Hornpipe
Shooting Stars B&H
u
Five-a-Side
l Look Lively
McDougall, Barbara
u
Tall Ships (arr. Judith McIvor FHM)
Murray, Eleanor, and Phyllis Tate
Tunes for My Violin B&H
l Song of the Roads
l The Swan
De Fesch, Willem
l Esperanza (arr. Alfred Moffat in Old Fiddle Pieces
OTT)
Pracht, Robert
Twelve Easy Pieces, op. 12 BMC
l Romance
Rameau, Jean-Philippe
l Two Sarabandes from Premier livre de pièces de clavecin
(arr. Alfred Moffat in Old Fiddle Pieces OTT)
Donkin, Christine
Costume Party FHM
u
The Dancer
Fall Fair FHM
u
Fall Fair
Tchaikovsky, Pyotr Il’yich
u
Mélodie antique française (Old French Song) from
Album pour enfants (arr. FHM)
Duke, David
u
Motorcycles (in The Encore Series for Violin & Piano, 2
FHM)
Elgar, Edward
Six Very Easy Pieces in the First Position, op. 22 FAB; BOS
l Allegretto in G Major (no. 5)
u
Allegro in C Major (no. 6)
List B
Pieces in a Faster Tempo
Girard, Anthony
l Le Soleil Luit pour Tout le Monde BIL
Traditional
l Maytime (arr. Paul de Keyser and Fanny Waterman,
in The Young Violinist’s Repertoire, 3 FAB)
Archer, Violet
Twelve Miniatures WAT
l Waltzing
Handel, George Frideric
l Bourrée, from Sonata in F Major for Oboe and Basso
Continuo, HWV 363 (arr. in Suzuki Violin School,
Revised Edition, 2 ALF)
Babell, William
l Two Matelottes (arr. Alfred Moffat in Old Masters for
Young Players, 3 OTT)
Haydn, Franz Joseph
u
Minuet and Trio, from Divertimento in D Major for
Baryton, Viola, and Cello, Hob. XI:34 (arr. FHM)
Bach, Carl Philipp Emanuel
l Marche, BWV Anh. 122 (arr. Constance SeelyBrown, in Ten Little Classics FIS)
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
l Polka (no. 13)
u
Skipping and Hopping (no. 8)
Bach, Johann Sebastian, attr.
l Minuet 2 (Minuet in G Major), from Notenbuch der
Anna Magdalena Bach, BWV Anh. 116 (arr. in Suzuki
Violin School, Revised Edition, 1 ALF)
l Minuet 3 (Minuet in G Major) from Notenbuch der
Anna Magdalena Bach, BWV Anh. 114 (Christian
Petzold: attr. J.S. Bach and arr. in Suzuki Violin School,
Revised Edition, 1 ALF)
Losy, Johann Anton [Jan Antonín]
l Bourrée (arr. Ferenc Brodzsky in Old Music for Violin
EMB)
Lumsden, Caroline, and Ben Attwood
Wizard’s Potion PET
u
Flash of Light’ning
l Strike It Lucky!
Clarke, Jeremiah
u
Minuet from Choice Lessons for the Harpsichord or
Spinet (arr. Christine Donkin FHM)
Mackay, Neil
Four Modern Dance Tunes S&B
l Rebecca
u
Tango
Cofalik, Antoni, and Romuald Twardowski
At the Zoo BAR
l The Beavers (Die Biber)
Mozart, Wolfgang Amadeus
l Pantomime, from Les petits riens, K 10 (arr. Paul de
Keyser and Fanny Waterman in The Young Violinist’s
Repertoire, 4 FAB)
21
Level 2
Pracht, Robert
Twelve Easy Pieces, op. 12 BMC
u
Hongrois (Hungarian)
→ observe repeat in Trio only
l Wandering
Donkin, Christine
Get Fiddlin’! FHM
l Osoyoos (no. 12)
u
Pancake Peak (no. 8)
→ play in 3rd position
Schubert, Franz
u
Waltz in D Major, D 420, no. 1 (arr. Kathleen Wood
FHM)
Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
l Country Dance (no. 17)
u
Gym (no. 2)
→ play with given fingering
l Hide and Seek (no. 4)
Shostakovich, Dmitri
u
Hurdy-Gurdy (arr. Konstantin Fortunatov in
Shostakovich: Albumstücke PET)
l Kleiner Marsch (arr. Konstantin Fortunatov in
Shostakovich: Albumstücke PET)
Givens, Shirley
Adventures in Violinland, 3D GIV
l Spend Your Bow Wisely
Weber, Carl Maria von
l Gypsy Dance (in The Young Violinist’s Repertoire, 3
FAB)
l Hunters’ Chorus, from Der Freischütz (in Suzuki
Violin School, Revised Edition, 2 ALF)
Harris, Paul
Improve your Scales!, 1–2 FAB
l Arietta
l Greyhound
Improve your Scales!, 4 FAB
l Drifting
l Flamingo
Technical Requirements
Kinsey, Herbert
Elementary Progressive Studies, set 1 ABR
l one of nos. 9, 10, 12, 14, 16
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Metz, Louis
Vioolmethode 2 B&V
l one of nos. 13, 21, 40
Etudes
Students must prepare two technically contrasting etudes
from the following list.
Milburn, Richard
u
Listen to the Mockingbird (arr. Shirley Givens in
Adventures in Violinland, 3D GIV)
→ play in 3rd positiong
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM
Rhoda, Janice Tucker
The ABCs of Violin for The Absolute Beginner FIS
l Bobbing for Apples Jig (no. 77)
Traditional
u
Charlie Is My Darling FHM
Romberg, Bernhard Heinrich
Twenty-seven Etudes for Strings GVT
u
Sailing (arr. A. Baird Knechtel)
Cohen, Mary
Scaley Monsters for Violin FAB
l Donkey Riding
Superstudies for Violin, 2 FAB
u
Saturday Night Stomp
RT, Zav, arr.
Fiddleworks, 1 FHM
l Road to Lisdoonvarna
Sitt, Hans
Studies for Violin, op. 32, 1 FIS
l no. 2 or no. 5
de Keyser, Paul
Violin Playtime Studies FAB
l German Folk-Song (no. 26)
l March (no. 29)
u
Rowing on the Lake (no. 27)
l Trumpet Tune (no. 18)
Suzuki, Shin’ichi
Position Etudes, Revised Edition ALF
l Perpetual Motion in G Major, 3rd Position (with
sixteenth-note variation, unaccompanied)
Wohlfahrt, Franz
Sixty Studies for Violin, op. 45, 1 SCH
u
Study in F Major (no. 5)
l one of nos. 1, 2, 8, 9
Level 2
22
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.
Scales
Major
Harmonic Minor
Keys
G, A
G, A
Melodic Minor
G, A
Major
F
D
Range
Tempo
2 octaves
= 80
1 octave
start on open string
= 88
1 octave
= 80
1 octave in 3rd position
start on A string
= 100
2 octaves
= 80
1 octave
= 80
1 octave in 3rd position
start on A string
= 60
Bowing
Arpeggios
Major
Minor
Major
G, A
G, A
F
D
Double Stops*
Exercise on A and
E Strings
= 80
*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
three to four measures
Example only
1
2
23
Level 2
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major 3rd
perfect 5th
Playback
Students will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody may
contain one or more leaps of a 3rd. The adjudicator will name the key, play the tonic triad once, and play the melody twice
on the piano.
Beginning Note
Keys
Approximate Length
tonic or dominant
G, D, A major
five notes
Example only
1
2
Level 2
24
Level 3
Students in Level 3 should be able to use a variety of bow
strokes appropriately, including staccato, martelé, and
detaché. Secure intonation in 1st, 2nd, and 3rd positions is
required, including the ability to shift between positions
with accuracy and fluency. The development of vibrato is
encouraged at this level.
Level 3 Requirements
List A
Repertoire in Baroque and Classical Styles
Albrechtsberger, Johann Georg
u
Minuetto and Trio in D Major, from Symphony
No. 3 in D Major (arr. Paul Jenkins FHM)
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
60
18
18
18
6
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
10
10
Aural skills
Clapback
Intervals
Playback
10
3
3
4
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Arne, Thomas A.
l Melodie in G Major (arr. Alfred Moffat in Old Masters
for Young Players, 1 OTT)
Bach, Johann Sebastian, attr.
l Minuet, from Notenbuch der Anna Magdalena Bach,
BWV Anh. 114 (Christian Petzold: attr. J.S. Bach and
arr. in Suzuki Violin School, Revised Edition, 3 ALF)
u
Musette, from Notenbuch der Anna Magdalena Bach,
BWV Anh. 126 (arr. Kathleen Wood FHM)
Becker, Jean
l Gavotte (in Suzuki Violin School, Revised Edition, 3
ALF)
Beethoven, Ludwig van
l Minuet in G Major, from Sechs Menuette, WoO 10, no.
2 (arr. in Suzuki Violin School, Revised Edition, 2 ALF)
Diabelli, Anton
Sonatina, op. 163, no. 4
u
2nd movement: Andante cantabile (arr. Kathleen
Wood FHM)
Gossec, François-Joseph
l Gavotte (in Suzuki Violin School, Revised Edition, 1
ALF)
Academic Co-requisite
None
Hasse, Johann Adolph
Two Dances (arr. Alfred Moffat, in Old Masters for Young
Players, 1 OTT)
l Bourrée and Menuett
Repertoire
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Küchler, Ferdinand
Concertino in G Major, op. 11 BOS
u
1st movement
Students must prepare three contrasting selections by three
different composers, one from List A, one from List B, and
one from List C.
Lully, Jean-Baptiste
l Gavotte (in Suzuki Violin School, Revised Edition, 2
ALF)
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 3 FHM
Martini, Giovanni Battista
l Gavotte (in Suzuki Violin School, Revised Edition, 3
ALF)
Montéclair, Michel Pignolet de
l Two Minuets (in Position Pieces for Violin and Piano, 2
FAB)
Pepusch, Johann Christoph
l Theatermusik (arr. Alfred Moffat in Old Fiddle Pieces
OTT)
25
Level 3
Sammartini, Giuseppe
l Mouvement d’une Sérénade (arr. Alfred Moffat in Old
Fiddle Pieces OTT)
Paganini, Niccolò
l Theme, from Witches’ Dance (arr. in Suzuki Violin
School, Revised Edition, 2 ALF)
Steibelt, Daniel
l Divertimento (arr. Alfred Moffat, in Old Fiddle Pieces
OTT; The Young Violinist’s Repertoire, 2 FAB)
Schumann, Robert
l The Two Grenadiers, op. 49, no. 1 (arr. in Suzuki
Violin School, Revised Edition, 2 ALF)
Telemann, Georg Philipp
Sonatina in F Major, TWV 41:F1
u
3rd movement: Presto (arr. Kathleen Wood FHM)
Tchaikovsky, Pyotr Il’yich
l Sharmanka (in The Young Violinist’s Repertoire, 2 FAB)
List C
Repertoire Composed After 1930
List B
Traditional and Romantic Repertoire
Archer, Violet
Twelve Miniatures WAT
l Joyous
Anonymous
l Untitled Reel 2 (arr. John Beckwith, in Eight
Miniatures from the Allen Ash Manuscript FHM)
Chase, Bruce
Fiddle & Fun in First Position HAL
u
Gabby Ghost
Traditional
u
Nouvelle agréable (arr. Christine Donkin FHM)
→ play with fingering indicated
u
Skye Boat Song (arr. Hugh J. McLean FHM)
→ play in 3rd position
Colledge, Katherine, and Hugh Colledge
Shooting Stars B&H
u
Cossacks
u
Moto perpetuo
Alard, Jean-Delphin
u
Nocturne (In the Second Position) FHM
→ play in 2nd position
Coulthard, Jean
u
A Sad Waltz (in The Encore Series for Violin & Piano, 3
FHM)
l Under the Sea (in The Encore Series for Violin & Piano,
4 FHM)
Baklanova, Nathalia
Acht leichte Stücke für Violine und Klavier PET
u
Mazurka (no. 4) (in The Young Violinist’s Repertoire, 3
FAB)
→ observe repeat mm. 33 to 40
l Romance (no. 3)
Donkin, Christine
Fall Fair FHM
u
The Farmers’ Market
l Midway Ride
Blachford, Frank
u
Minor Mode FHM
Duke, David
l Pibroch (in The Encore Series for Violin & Piano, 2
FHM)
Brahms, Johannes
l Waltz, from Walzer, op. 39, no. 15 (arr. in Suzuki
Violin School, Revised Edition, 2 ALF)
Fiala, George
u
Wallaby’s Lullaby, op. 5 BER
Carse, Adam
Fiddle Fancies S&B
l Waltz Steps
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
u
On Holiday (no. 15)
Dvořák, Antonín
l From “Songs my Mother Taught Me,” op. 55, no. 4
(in The Young Violinist’s Repertoire, 2 FAB)
Khachaturian, Aram
l The Little Horse (in Position Pieces for Violin and Piano,
3 FAB)
Grieg, Edvard
u
Wedding Tune, op. 17, no. 24 (arr. Kathleen Wood
FHM)
→ play in 2nd position
Kroll, William
Three Violin Pieces in the First Position SCH
u
Donkey Doodle (in Solos for Young Violinists, 1 ALF)
Méhul, Etienne
l Romance (arr. Alfred Moffat in Old Fiddle Pieces OTT)
Lumsden, Caroline, and Ben Atwood
Wizard’s Potion PET
l Grab the Slippery Toad!
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
l Cavatina (no. 4)
l Little Waltz (no. 2)
Level 3
26
Norton, Christopher
Microjazz Violin Collection, 2 B&H
l A Dramatic Episode
l Fly Away
Entezami, Ramin
Melodious Etudes in First Position FIS
u
The Fellow (no. 31)
Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
l Aim and Shoot (no. 8)
l Cradle Song (no. 6)
u
The First Skating Lesson (no. 5)
l King Counter (no. 7)
l Round Dance (no. 3)
l Sadness (no. 18)
l Tag (no. 11)
l Up and Down the Ladder (no. 1)
Persichetti, Vincent
Masques, op. 99 EVO
l Masque No. 1
Pracht, Robert
Twelve Easy Pieces, op. 12 BMC
l Perpetuum Mobile
l Tarantella
Shostakovich, Dmitri
u
The Clockwork Doll, from Children’s Notebook, op.
69 (arr. Konstantin Fortunatov, in Shostakovich:
Albumstücke PET)
Givens, Shirley
Adventures in Violinland, 3D GIV
u
Who Has Seen the Wind?
→ play in 3rd position
Wilson, Peter
Space Stringpops FAB
l Space Walk
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l one of nos. 1, 2, 3
Technical Requirements
Kinsey, Herbert
Elementary Progressive Studies, set 1 ABR
l no. 11 or no. 18
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Mackay, Neil
Position Changing for the Violin OUP
u
The Fair Isle (no. 2)
l Tyrolean Air (no. 18)
Etudes
Students must prepare two technically contrasting etudes
from the following list.
Metz, Louis
Vioolmethode, 3 B&V
l no. 8
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM
Rapoport, Katharine
u
Kites FHM
→ play in 2nd position
Cohen, Mary
Superstudies for Violin, 2 FAB
l Fivepenny Waltz (no. 8)
l Hot Chocolate Treat (no. 3)
l The Snake-Charmer’s Lament (no. 7)
u
The Whirly Bird and the Hen (no. 9)
Sitt, Hans
Studies for the Violin, op. 32, 1 FIS
l no. 3 or no. 4
Trott, Josephine
Melodious Double Stops, 1 SCH
l one of nos. 1, 2, 4, 6, 7, 8
de Keyser, Paul
Violin Playtime Studies FAB
l Allegro Brillante (no. 30)
Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 9 or no. 35
Sixty Studies for Violin, op. 45, 1 SCH
u
Study in G Major (no. 4)
l one of nos. 6, 14, 16, 20
Sixty Studies for Violin, op. 45, 2 SCH
u
Study in B flat Major (no. 37)
Donkin, Christine
Get Fiddlin’! FHM
l Kananaskis (no. 22)
l Mosquito Creek (no. 20)
l Simonette River (no. 16)
l Wild Horse (no. 10)
27
Level 3
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.
Scales
Keys
Major
B , C, D
C, D
F
Harmonic and Melodic Minor
Major
Harmonic and
Melodic Minor
Chromatic
F
on D
Range
Tempo
2 octaves
= 100
1 octave in 2nd position
= 60
1 octave
start on open string
= 66
2 octaves
= 88
1 octave in 2nd position
= 60
Bowing
Arpeggios
Major
B , C, D
C, D
F
F
Minor
Major
Minor
Double Stops*
Exercise on D and A Strings
= 60
*See Violin Series, 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
four measures
Example only
1
2
Level 3
28
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major 3rd
perfect 5th
perfect octave
Below a Given Note
minor 3rd
perfect 5th
Playback
Students will be asked to play back a melody on the violin, based on the first five notes of a major scale. The melody may
contain leaps of a 3rd and/or a 5th. The adjudicator will name the key, play the tonic triad once, and play the melody twice
on the piano.
Beginning Note
Keys
Approximate Length
tonic, mediant, or dominant
G, D, A major
five to eight notes
Example only
1
2
Reading skills
Playing
Students will be asked to play a short melody at sight. This may contain dynamics ( ,
( ), articulation, and bowing indications (two-note legato or staccato slurs).
Difficulty
Time Signatures
Level 1 repertoire
,
,
, dim., cresc.), symbols
Keys
Positions
Approximate Length
G, D, A major
1st
eight to twelve measures
Clapping
Students will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
29
Level 3
Level 4
Students in Level 4 should be able to use a variety of
bow strokes appropriately, including brush strokes,
staccato, martelé, and detaché. Secure intonation in 1st to
4th positions is expected, including the ability to shift
between positions with accuracy and fluency. Some
vibrato is expected at this level.
Level 4 Requirements
List A
Concertos, Sonatinas, and Fantasias
Baklanova, Natalya Vladimirovna
Acht leichte Stücke für Violine und Klavier PET
l Concertino (no. 8)
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (2 marks per repertoire selection)
60
18
18
18
6
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
10
10
Aural skills
Clapback
Intervals
Playback
10
3
3
4
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Dancla, Charles
Douze fantasies sur motifs favouris, op. 86 FIS
l Le cor des Alpes–Valse du Freischütz (no. 11)
l Fleuve du Tage (no. 8)
l Rédowa de Wallerstein (no. 3)
Küchler, Ferdinand
Concertino in D Major, op. 12 BOS
l 1st or 3rd movement
Concertino in the Style of Antonio Vivaldi, op. 15 BOS; (in
Solos for Young Violinists, 1 ALF)
l 1st movement
u
3rd movement
Millies, Hans Mollenhauer
Concertino in the Style of W.A. Mozart (abridged) NOV
u
1st movement
Mollenhauer, Eduard
u
The Infant Paganini: Fantasia FIS
Perlman, George
Concertino in A Minor (in Fun with Solos CHD)
l 3rd movement
Portnoff, Leo
Russian Fantasias BOS
l Russian Fantasia No. 2 in D Minor
l Russian Fantasia No. 3 in A Minor
Academic Co-requisite
None
Repertoire
Rieding, Oskar
Concerto in B Minor, op. 35 BAR; BOS
l 1st movement
u
3rd movement
Concerto in D Major, op. 36 BOS
l 3rd movement
Concerto in G Major, op. 34 BOS
l 1st movement
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and
one from List C.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 4 FHM
Level 4
Ruegger, Charlotte
l Concertante in G Major FIS
Steibelt, Daniel
Sonatine, op. 33, no. 1
u
1st movement
30
List B
Repertoire in Baroque Style
Bennett, Richard Rodney
Up Bow, Down Bow NOV
u
Merry-Go-Round
Bloch, József
Vier leichte Stücke, op. 36 SDM
l Historiette (no. 4)
Anonymous
u
Bourrée, from Leopold Mozart, Notenbuch für
Wolfgang (arr. Kathleen Wood FHM)
Boccherini, Luigi
l Minuet (in Suzuki Violin School, Revised Edition, 2
ALF)
Aubert, Jacques
l Two Minuets (arr. Elma Doflein and Erich Doflein in
Musik für Violine und Klavier, 2 OTT)
Bouchard, Rémi
Suite for Violin and Piano BMC
l String Along
Bach, Johann Sebastian
l Gavotte in G Minor (Gavotte en rondeau) from Suite
in G Minor for Harpsichord, BWV 822, arr. in Suzuki
Violin School, Revised Edition, 3 ALF)
u
Giguetta from Sarabande con Partite, BWV 990, XVI:
L’ultima Partita o Giguetta (arr. Constance SeelyBrown in Ten Little Classics FIS and Solos for Young
Violinists, 1 ALF)
Dancla, Charles
Petite école de la mélodie, op. 123, 1 OTT
l Polka (no. 6)
Dvořák, Antonín
l Humoresque (from Humoresques for Piano, op. 101,
no. 7, arr. in Suzuki Violin School, Revised Edition, 3
ALF)
Corelli, Arcangelo
Sonata in F Major, op. 5, no. 10
u
4th movement: Gavotta (arr. Kathleen Wood FHM)
Ethridge, Jean
l Two Blues (in The Encore Series for Violin & Piano, 3
FHM)
Handel, George Frideric
l Sarabande from Concerto in G Minor for oboe,
strings, and basso continuo, HWV 287 (arr. Harold
Edwin Darke ABR)
u
Sarabande from Keyboard Suite in D Minor, HWV
447 (arr. Christine Gale FHM)
Hook, James
l My Heart Is Devoted, Dear Mary, to Thee (arr. John
Beckwith, in Eight Miniatures from the Allen Ash
Manuscript FHM)
Lully, Jean-Baptiste
l Gavotte and Musette (arr. Alfred Moffat, in Old
Masters for Young Players, 1 OTT)
Kabalevsky, Dmitri
Twenty Pieces for Violin and Piano, op. 80 SCH; SIK
l Ping Pong (no. 18)
u
Summer Song (no. 16)
Telemann, Georg Philipp
Sonatina No. 2 in B flat Major, TWV 41:B2
l Presto (in Baroque Violin Pieces, 2 ABR)
Mendelssohn, Felix
l Allegro non troppo, from Sechs Kinderstücke, op. 72,
no. 1 (arr. István Nagy in Leichte Stücke für Violine und
Klavier UNI)
Thomas, Ambroise
l Gavotte from Mignon (arr. in Suzuki Violin School,
Revised Edition, 2 ALF)
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
l Conte sérieux (no. 6)
l Mosquito Dance (no. 5) (in Solos for Young Violinists, 1
ALF)
u
Soldatenmarsch (Soldier’s March) (no. 3)
List C
Concert Repertoire
Traditional
l Bán Chnoic Eireann O (arr. T.C. Kelly in Irish Tunes,
2 OSS)
l The Lark in the Clear Air (arr. T.C. Kelly in Irish
Tunes, 2 OSS)
Nakada, Yoshinao
Japanese Festival
u
The Song of Twilight (in Position Pieces for Violin and
Piano PRE)
→ play in 4th position
Baklanova, Natalya Vladimirovna
Acht leichte Stücke für Violine und Klavier PET
l Allegro (no. 6)
u
Fast Dance (Reigen) (no. 2) (in The Young Violinist’s
Repertoire, 3 FAB)
Nelson, Sheila M.
Moving Up Again B&H
l Caprice
l Moto Perpetuo
Palaschko, Johannes
Ten Easy Pieces, op. 65
l March of the Pirates (no. 5)
Barns, Ethel
u
Le Faun (in Music for Strings LEE)
31
Level 4
Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
l Agitation (no. 19)
l At the Skating Rink (no. 28)
l Barcarolle (no. 30)
u
Grasshopper (no. 10)
l Hop Scotch (no. 15)
l Lost in the Woods (no. 22)
l March (no. 20)
l Old Dance (no. 12)
u
Playing Ball (no. 9)
l A Pleasant Day (no. 21)
l Scherzino (no. 25)
l Tongue Twister (no. 29)
Schumann, Robert
u
Knecht Ruprecht (Knight Rupert) from Album für die
Jugend, op. 68 (arr. FHM)
Spies, Ernst
Sechs Stücke, op. 45 OTT
l Menuetto (no. 5) FIS
Rieding, Oskar
Vier Leichte Vortragsstücke, op. 23 BUT
l Zigeunermarsch (no. 2) BOS
Tchaikovsky, Pyotr Il’yich
u
Danse napolitaine (Neapolitan Dance) from Swan
Lake, op. 20 (arr. FHM)
Trott, Josephine
l The Puppet Show, op. 5, no. 1 (in Solos for Young
Violinists, 1 ALF)
Grissen, Carl
Learn With Tunes, 3 WIL
l Lesson 17 (no. 3)
l Lesson 19 (no. 4)
Vaughan Williams, Ralph
Six Studies in English Folk-Song S&B
l Andante Tranquillo (no. 6)
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 4 or no. 13
Technical Requirements
Kinnard, Kathryn Bird
Easy Songs for Shifting in the First Five Positions ALF
l Gypsy Dance
u
Inch Worm
→ play with given fingering
l Popsicles
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Etudes
Kinsey, Herbert
Elementary Progressive Studies ABR
l Set 1, no. 19
u
Set 2, no. 7
Students must prepare two technically contrasting etudes
from the following list.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM
Panofka, Heinrich
l no. 10 or no. 26 (in Studies in Lyricism for Violin FIS)
RT, Zav, arr.
Fiddleworks, 3 FHM
u
Ostinelli’s Reel
Cohen, Mary
Technique Takes Off!, 2 FAB
l Magic Carpet Ride (no. 11)
u
The Mill Wheel (no. 4)
Sitt, Hans
Studies for the Violin, op. 32, 1 FIS
l no. 6 or no. 7
Entezami, Ramin
Melodious Etudes in First Position FIS
u
The Happy Wire-Haired Dachshund (no. 60)
→ with repeat
l Little Boat on the Sea (no. 59)
Trott, Josephine
Melodious Double Stops, 1 SCH
u
Melodious Double Stops (no. 9)
l no. 5
Wohlfahrt, Franz
Forty Elementary Studies, op. 54 FIS; SCH; PET
l no. 8
Sixty Studies for Violin, op. 45, 1 SCH
u
Study in F Major (no. 6)
Sixty Studies for Violin, op. 45, 2 SCH
l one of nos. 18, 31–37 (omit articulations)
Level 4
32
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes Preparatory–4 FHM for required patterns.
Scales
Major
Keys
Harmonic and Melodic Minor
B, E
E
Range
A , B, E
Major
Harmonic and
Melodic Minor
2 octaves
= 60
1 octave in 4th position
= 84
B
1 octave on A string
= 84
on E
1 octave
start on D string
= 84
2 octaves
= 96
1 octave in 4th position
= 84
G (starting on D),
A (starting on E)
1 octave
start on D string
= 84
B (starting on A ),
E (starting on D )
1 octave
start on open string
= 84
E
1 octave
= 60
E
Major
Chromatic
Arpeggios
Major
A , B, E
Minor
Major
Minor
Dominant 7th of Major Keys
Diminished 7th of Minor Keys
Double Stops
Major in Broken 6ths
Tempo
B, E
E
E
Bowing
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
two to three measures
Example only
1
2
33
Level 4
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major and minor 3rds
perfect 4th
Below a Given Note
minor 3rd
perfect 5th
perfect octave
perfect 5th
perfect octave
Playback
Students will be asked to play back a melody, based on the first five notes of a major scale, on the violin. The adjudicator
will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
Keys
Approximate Length
tonic, mediant, or dominant
C, G, D, A major
six notes
Example only
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 4 may include accidentals, tenuto
to .
markings, and dynamic indications from
Difficulty
Time Signatures
Keys
Positions
C, F, G, D major 1st
Level 2 repertoire
Approximate Length
eight to twelve measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
Level 4
34
Level 5
Students in Level 5 should have a well-developed brush
stroke and beginning collé and spiccato strokes. Secure
intonation in 1st to 5th positions is expected, including
the ability to shift between positions with accuracy and
fluency. Students should be able to produce vibrato
consistently with all fingers.
Level 5 Requirements
List A
Concertos, Airs variés, and Fantasias
Bacewicz, Grażyna
Concertino PWM
u
1st movement
Bériot, Charles-Auguste de
l Air varié No. 14 in G Major (in Solos for Young
Violinists, 2 ALF)
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (3 marks each for List A and List C)
60
17
20
17
6
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
10
10
Aural skills
Clapback
Intervals
Playback
10
3
3
4
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Dancla, Charles
Airs variés, op. 89 OTT; FIS; SCH
l Air varié on a Theme by Pacini (no. 1)
Douze fantasies sur motifs favouris, op. 86 FIS
l La Cenerentola (no. 7)
l Donna del Lago–Air suisse (no. 4)
l Les noces de Figaro–Le crociato (no. 10)
u
Plaisir d’amour (no. 12)
l Les Puritains (no. 9)
Huber, Adolf
Concertino in G Major, op. 6, no. 2 FIS
l 1st movement (to end of p. 1 of violin part)
Concertino in G Major, op. 8, no. 4 FIS
l complete
Járdányi, Pál
l Concertino EMB
Portnoff, Leo
Russian Fantasias BOS
l Russian Fantasia No. 1 in A Minor BOS
Academic Co-requisite
Basic Rudiments
Rieding, Oskar
u
Air varié, op. 23, no. 3 BOS
Seitz, Friedrich
Concerto No. 2 in G Major, op. 13 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF)
l 3rd movement
Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF)
l 1st movement
Repertoire
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and
one from List C.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 5 FHM
35
Level 5
List B
Sonatas and Sonatinas
List C
Concert Repertoire
Corelli, Arcangelo
12 Sonate, op. 5 BAR; OTT
Sonata No. 7 in D Minor (arr. István Homolya EMB)
l 1st movement: Preludio and 2nd movement:
Corrente
l 3rd movement: Sarabanda and 4th movement: Giga
Sonata No. 8 in E Minor
l 1st movement: Preludio and 2nd movement:
Allemanda
l 3rd movement: Sarabanda and 4th movement: Giga
Sonata No. 9 in A Major
l 1st movement: Preludio and 2nd movement: Giga
Sonata No. 11 in E Major
l 1st movement: Preludio and 2nd movement: Allegro
Traditional
u
Ukrainian Folk Song (arr. Michael Conway Baker)
Bach, Johann Sebastian
l Bourrée from Suite for Cello No. 3 in C Major, BWV
1009 (arr. in Suzuki Violin School, Revised Edition, 3
ALF)
Blachford, Frank
u
Mazurka FHM
Bohm, Carl
l Moto Perpetuo (from the “Third Suite” BMC)
Coulthard, Jean
l Music on a Hebridean Folk Song (in The Encore Series
for Violin & Piano, 5 FHM)
De Fesch, William
Sonata in G Major, op. 8, no. 4
l Largo and Allemanda (in Baroque Violin Pieces, 2 ABR)
Donkin, Christine
Fall Fair FHM
l Barn Dance
Pepusch, Johann Christoph
Six Sonatas, op. 1 OTT
Sonata No. 3 in G Major (arr. René Colwell OTT)
l 1st movement: Adagio and 2nd movement: Allegro
l 3rd movement: Adagio and 4th movement: Allegro
Sonata No. 5 in G Major (arr. Siegfried Pritsche PET; arr.
René Colwell OTT)
l 1st movement: Adagio and 2nd movement: Allegro
l 3rd movement: Adagio and 4th movement: Allegro
Duke, David
u
Abracadabra (for Kathy Rapoport) (in The Encore
Series for Violin & Piano, 4 FHM)
Ethridge, Jean
u
Fairy Tale (in The Encore Series for Violin & Piano, 6
FHM)
l Gig (in The Encore Series for Violin & Piano, 5 FHM)
l Reverie (in The Encore Series for Violin & Piano, 4
FHM)
Scarlatti, Domenico
Sonata No. 2 in E Minor, K 81 (in 5 Sonate per violino e
basso continuo EMB)
l 3rd movement: Grave and 4th movement: Allegro
Sonata No. 5 in G Major, K 91 (in 5 Sonate per violino e
basso continuo EMB)
l 3rd movement: Grave and 4th movement: Allegro
Gluck, Christoph Willibald
u
Musette and Air de ballet, from Armide (arr. Kathleen
Wood FHM)
Grieg, Edvard
u
Waltz from Lyric Pieces op. 12, no. 2 (arr. Hans Sitt)
(in Solos for the Violin Player HAL; SCH)
→ with repeat
Telemann, Georg Philipp
Sei Sonatine per Violino e Cembalo EMB
Sonata in E Major, TWV 41: E1
u
1st movement: Affettuoso–Siciliano and 4th
movement: Allegro (arr. Kathleen Wood FHM)
→ with all repeats
Hadjiev, Parashkev
u
Rondino (in The Young Violinist’s Repertoire, 4 FAB)
Heins, Donald
l Country Dance PRE
Vanhal, Johann Baptist
Kurz und leichte Klavierstűcke begleitet mit einer Violine
Sonata No. 1 (in Easy Classical Sonatas for Violin and Piano
EMB)
u
1st movement: Cadenza–Siciliano and 2nd
movement: Allegretto
Jaque, Rhené
l Daussila BER
l Mouvement perpétuel IND
Jenkinson, Ezra
l Elfentanz (Danse des sylphes) BOS; (in Solos for Young
Violinists, 1 ALF)
Weber, Carl Maria von
Six sonates progressives pour le pianoforte avec violon obligé,
op. 10b HEN
Sonata No. 2
u
3rd movement: Air Polonais
Level 5
Kreisler, Fritz
Four Pieces for Violin and Piano FIS; MAS
u
Toy Soldiers’ March
36
Mendelssohn, Ludwig
Miniatures: Fifteen Pieces for Violin, op. 62 BOS
l Polonaise (no. 1)
Concone, Giuseppe
l Andante Cantabile (no. 13) (in Studies in Lyricism for
Violin FIS)
Norton, Christopher
Microjazz Violin Collection, 2 B&H
l Snow Dance
Geringas, Yaakov
Shifting: Thirty Progressive Studies for Violinists FHM
u
Ballet Variation (no. 23)
l Love My Mum (no. 26)
Shostakovich, Dmitri
u
Dance from Dances of the Dolls (arr. Konstantin
Fortunatov, in Shostakovich: Albumstücke PET)
Griesdale, Susan
Soundplay: Eight Character Pieces GRI
u
Jolly Rondo
Vaughan Williams, Ralph
Six Studies in English Folk-Song S&B
u
Allegro Vivace (no. 6)
Grissen, Carl
Learn With Tunes, 3 WIL
l Lesson 21 (no. 6)
Woof, Rowsby
l Hornpipe (in Fiddler’s Choice, 6 ABR)
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
u
Study in G Major (no. 13)
l one of nos. 5, 6, 8, 19
Technical Requirements
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Sitt, Hans
Studies for the Violin, op. 32, 1 FIS
u
Study in C Major (no. 12)
l one of nos. 8–11
Etudes
Trott, Josephine
Melodious Double Stops, 1 SCH
u
Melodious Double Stops (no. 11)
l one of nos. 10, 12, 13, 15, 16, 18
Students must prepare two technically contrasting etudes
from the following list.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Etudes and Technique 5–8 FHM
Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 1 FIS
l no. 21
Fifty Easy Melodic Studies, op. 74, 2 FIS
u
no. 29
Forty Elementary Studies, op. 54 SCH; PET
l no. 18
Sixty Studies for Violin, op. 45, 2 SCH; FIS
u
Study in C Major (no. 42)
l no. 44 or no. 45
Cohen, Mary
Technique Takes Off!, FAB
u
The Bee’s Knees! (no. 12)
→ omit all repeats
l Dragon Dance (no. 7)
l Looping the Loop (no. 4)
37
Level 5
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.
Scales
Keys
Range
Tempo
Major
G
3 octaves
Major
Harmonic and
Melodic Minor
A , E, F
Major
= 76
or
2 octaves
= 88
C
1 octave on A string
= 84
Chromatic
on G, on A
2 octaves
= 76
Arpeggios
Major
Minor
A , E, F
G , E, F
2 octaves
= 120
Major
C
1 octave on A string
= 84
2 octaves
= 104
G , E, F
Dominant 7th of C (starting on G),
Major Keys
D (starting on A)
Diminished 7th
of Minor Keys
Bowing
A (starting on G ),
B (starting on A )
2 octaves
G, B 1 octave
= 104
Double Stops
Major in 6ths
= 72
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
two to four measures
Example
1
2
Level 5
38
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major and minor 3rds
perfect 4th
Below a Given Note
major and minor 3rds
perfect 5th
major and minor 6ths
perfect 5th
perfect octave
perfect octave
Playback
Students will be asked to play back a melody on the violin, based on the first five notes and the upper tonic of a major
scale. The adjudicator will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, A major
Approximate Length
seven notes
Example only
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 5 may include pizzicato and arco
markings.
Difficulty
Level 3
repertoire
Time Signatures
Keys
Positions
Approximate Length
C, F, G, D, A, E major
1st, 3rd
sixteen measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
39
Level 5
Level 6
Students in Level 6 should have a well-developed brush
stroke and be able to execute collé and spiccato strokes.
Secure intonation in 1st to 5th positions is expected,
including the ability to shift between positions with
accuracy and fluency. Vibrato should be firmly established
and used consistently where appropriate. A variety of
dynamic levels should be evident.
Level 6 Requirements
List A
Concertos, Airs variés, and Fantasias
Dancla, Charles
Airs variés, op. 89 OTT; FIS; SCH
l Air varié on a Theme by Donizetti (no. 4)
l Air varié on a Theme by Mercadante (no. 6)
u
Air varié on a Theme by Rossini (no. 2)
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
Memory (3 marks each for List A and List C)
60
17
20
17
6
Technical Requirements
Etudes: two etudes from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
10
10
Aural skills
Clapback
Intervals
Chords
Playback
10
2
3
2
3
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Huber, Adolph
Student Concertino in G Major, op. 6, no. 2 FIS
l 3rd movement
Komorowski, Anatoli
Concerto No. 2 in A Major PET
l 3rd movement: Allegro molto
Kymlicka, Milan
Concertino Grosso CAN
l 1st and 3rd movements
Mollenhauer, Eduard
u
The Boy Paganini: Fantasia FIS (in Solos for Young
Violinists, 2 ALF)
Portnoff, Leo
Concertino in A Minor, op. 14 BOS
l 1st movement
Rieding, Oskar
Concertino in A Minor (In Hungarian Style), op. 21 BAR;
BOS
l 1st movement to Andante sostenuto
Concerto in G Major, op. 24 BOS
l 3rd movement
Academic Co-requisite
Intermediate Rudiments
Seitz, Friedrich
Concerto No. 1 in D Major, op. 7 BOS; SCH
l 3rd movement
Concerto No. 2 in G Major, op. 13 BAR; BOS; SCH
l 1st movement
Concerto No. 5 in D Major, op. 22 BOS; SCH (in Suzuki
Violin School, Revised Edition, 4 ALF; BAR)
l 3rd movement
Repertoire
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and
one from List C.
Telemann, Georg Philipp
Concerto in G Major, op. 3, no. 3 PET
l 1st movement
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 6 FHM
Tessarini, Carlo
Concerto in G Major, op. 1, no. 3 (arr. Hermann Muller B&H)
l 1st movement
Vivaldi, Antonio
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176 PET; (in
Suzuki Violin School, Revised Edition, 4 ALF; BAR)
l 1st or 3rd movement
Concerto in G Major, op. 3, no. 3, RV 310 BAR; PET
u
1st movement (arr. Kathleen Wood FHM)
Level 6
40
List B
Sonatas and Sonatinas
Bohm, Carl
l Perpetuo mobile, from Little Suite No. 6 FIS; (in Solos
for Young Violinists, 3 ALF; in Suzuki Violin School,
Revised Edition, 4 ALF)
l Sarabande in G Minor (in Solos for Young Violinists, 2
ALF)
Handel, George Frideric
Sonata no. 3 in F Major, HWV 370 BAR; HEN; PET (in
Suzuki Violin School, 6 ALF)
l two contrasting movements
Borowski, Felix
u
Adoration PRE
Martinů, Bohuslav
Sonatina BAR
u
2nd and 3rd movements
Bridge, Frank
Three Pieces for Violin and Piano FAB
u
Berceuse (no. 1)
Pepusch, Johann Christoph
6 Sonate da camera (transc. Walter Kolneder OTT)
Sonata No. 1 in B Minor
l two contrasting movements
Sonata No. 4 in D Minor
u
1st and 2nd movements
l 3rd and 4th movements
Sonata No. 6 in F Minor
l 1st and 4th movements
Coulthard, Jean
l Rustic Dance, from Little French Suite (in The Encore
Series for Violin & Piano, 6 FHM)
Telemann, Georg Philipp
Six Sonatas (1715) OTT
Sonata No. 1 in G Minor, TWV 41:g1
l two contrasting movements
Sonata No. 2 in D Major, TWV 41:D1
l two contrasting movements
Sonata No. 3 in B Minor, TWV 41:h1
l 3rd movement: Andante and 4th movement: Vivace
Sonata No. 4 in G Major, TWV 41:G1
l two contrasting movements
Sonata No. 6 in A Major, TWV 41:A1
l two contrasting movements
Donizetti, Gaetano
l Non giova il sospirar (arr. Charles-Auguste de Bériot,
in Romantic Violinist B&H)
Veracini, Francesco
Twelve Sonatas, op. 1, 2 PET
Sonata No. 6 in A Minor
l 1st movement: Largo and 3rd movement: Allegro
Fauré, Gabriel
l Berceuse, op. 16 (in The Violin Collection: Intermediate
SCH)
Coutts, George
u
Hornpipe FHM
Cui, César
Kaleidoscope, op. 50 SIM
l Musette (no. 3)
Donkin, Christine
Fall Fair FHM
u
Catch Me if You Can!
Drdla, František
l Tarantella, op. 27, no. 2 BOS
Ethridge, Jean
l Rondo brillante (in The Encore Series for Violin &
Piano, 4 FHM)
Gossec, François-Joseph
l Tambourin (arr. Sheila Nelson, in Classical Violinist
B&H)
List C
Concert Repertoire
Grainger, Percy
l Molly on the Shore MAS
Adaskin, Murray
u
Daydreams
Kreisler, Fritz
u
Andantino in the Style of Martini FIS
l Chanson Louis XIII et Pavane
Four Pieces for Violin and Piano FIS; MAS
l Aucassin und Nicolette
Arnold, Malcolm
Four Scottish Dances, op. 59
l Scottish Dance No. 3 (arr. David Gedge, in The Violin:
A Collection CHS)
Massenet, Jules
u
Invocation (Mélodie) from Les Erinnyes
Baxter, Timothy
l Jota (in The Well-Tuned Fiddle, Book II ABR)
Perlman, George
Israeli Concertino B&H
l Nocturne
Bennett, Richard Rodney
Six Country Dances
l Buskin (no. 2) (in The Violin: A Collection CHS)
Piazzolla, Astor
u
Duo 1 (arr. Hywel Davies LIM)
41
Level 6
Technical Requirements
Rameau, Jean-Philippe
l Gavotte (in Suzuki Violin School, 6 ALF)
Reger, Max
l Romance BRH
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Rieding, Oskar
l Petite Ballade BOS
Etudes
Students must prepare two technically contrasting etudes
from the following list.
Szelényi, István
Twenty-four Easy Little Concert Pieces
u
Youngsters’ Dance (no. 19) EMB; ABR
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM
Cohen, Mary
Technique Takes Off!, FAB
l Skater’s Waltz (no. 11)
Dezaire, Nico
Violin Positions 4 & 5 DHM
l The Hunter
l Rock ’n’ Roll
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 14 or no. 17
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
u
Étude No. 4 in C Major
u
Étude No. 2 in C Major
l one of nos. 3, 5, 6
Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
spéciales SCH; INT
u
Étude spéciale (no. 3: Fermeté d’archet)
l one of nos. 2, 5, 6, 10
Panofka, Heinrich
l no. 38 (in Studies in Lyricism for Violin FIS)
Trott, Josephine
Melodious Double Stops, 1 SCH
l one of nos. 17, 19–30
Melodious Double Stops, 2 SCH
u
Melodious Double Stops no. 1
l no. 9 or no. 11
Wohlfahrt, Franz
Fifty Easy Melodic Studies, op. 74, 2 FIS
u
Study in D Major (no. 44)
l no. 37 or no. 42
Sixty Studies for Violin, op. 45, 2 SCH
u
Study in A Minor (no. 47)
l no. 43 or no. 50
Level 6
42
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.
Scales
Major
Harmonic and
Melodic Minor
Major
Harmonic and
Melodic Minor
Major
Harmonic and
Melodic Minor
Keys
G, A
Chromatic
on B , on B
Arpeggios
Major
Minor
Major
Minor
Major
Minor
G, A
G, A
D C D
D
Dominant 7th of
Major Keys
F (starting on C),
G (starting on D)
2 octaves
Diminished 7th of
Minor Keys
C (starting on B ),
E (starting on D )
2 octaves
G, A
Range
Tempo
3 octaves
= 100
or
D
C Bowing
2 octaves
= 100
D
D
Double Stops
Major in 3rds, 6ths,
G, A
8ves
Harmonic Minor in
G, A
3rds, 6ths, 8ves
1 octave on A string
2 octaves
= 88
= 88
3 octaves
= 54
2 octaves
= 54
1 octave on A string
= 88
= 88
= 88
1 octave
= 76
43
Level 6
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after adjudicator has played it twice on the piano.
Time Signatures
Approximate Length
two to four measures
Example only
1
2
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major 2nd
Below a Given Note
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
perfect octave
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
perfect octave
Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.
Chords
major and minor triads
Position
root position
Playback
Students will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Level 6
44
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 6 may include natural harmonics,
left- and right-hand pizzicato, appoggiaturas, and double stops.
Difficulty
Time Signatures
Level 4 repertoire
Keys
C, F, G, D, A, E major
A, E, D minor
Positions
Approximate Length
1st, 2nd, 3rd
sixteen to twenty measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
45
Level 6
Level 7
Students in Level 7 should have a well-developed spiccato
stroke and be able to play with a wide dynamic range.
Playing should show stylistic awareness. Fluency and
accuracy up to 7th position is expected. Vibrato should
pass from finger to finger and be used consistently to
support repertoire where appropriate.
Level 7 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
(The figures in parentheses for Lists A and
C indicate the marks that will be deducted
for selections that are not memorized.)
50
15 (1.5)
20
15 (1.5)
List A
Concertos, Airs variés, and Fantasias
Corelli, Arcangelo
l La Folia (arr. Shin’ichi Suzuki, in Suzuki Violin School,
6 ALF)
Dancla, Charles
Airs variés, op. 89 OTT; FIS; SCH
l Air varié on a Theme by Bellini (no. 3)
l Air varié on a Theme by Weigl (no. 5) (in Solos for
Young Violinists, 3 ALF)
Farmer, Henry
u
Hope Told a Flattering Tale (in Romantic Violinist
B&H)
Orchestral Excerpts
one excerpt from the Syllabus list
10
Technical Requirements
Etudes: one etude from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
8
12
Aural skills
Clapback
Intervals
Chords
Playback
10
2
3
2
3
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Marcello, Benedetto
Concerto in D Major OTT
l 1st movement
Nardini, Pietro
Concerto in E Minor AUG; INT
l 1st movement
Perlman, George
Israeli Concertino B&H
l 3rd movement: Fantasie–Recitative
Rieding, Oskar
Concerto in G Major, op. 24 BOS
l 1st movement (in Solos for Young Violinists, 2 ALF)
Seitz, Friedrich
Concerto No. 1 in D Major, op. 7 BOS; SCH
l 1st movement
Concerto No. 3 in G Minor, op. 12 BAR; BOS; SCH
u
1st movement (abridged) (in Solos for Young Violinists,
2 ALF)
Academic Co-requisite
Advanced Rudiments
Stamitz, Anton
Concerto in G Major OTT
l 1st movement
Repertoire
Vivaldi, Antonio
Concerto in G Minor, op. 12, no. 1, RV 317/F I:221 OTT;
INT (in Suzuki Violin School, Revised Edition, 5 ALF)
l 1st movement
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Students must prepare three contrasting selections by three
different composers: one from List A, one from List B, and
one from List C.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 7 FHM
Level 7
46
List B
Sonatas and Sonatinas
Weber, Carl Maria von
Six sonates progressives pour le pianoforte avec violon obligé,
op. 10b HEN
Sonata No. 1 in F Major
l two contrasting movements
Sonata No. 3 in D Major
l 1st and 2nd movements
Sonata No. 6 in C Major
l 1st and 3rd movements
Anonymous
Sonata in D Minor (arr. Hugh J. McLean, in Musica da
Camera, no. 103 OUP)
l 1st movement: Preludio and 7th movement: Giga
u
2nd movement: Fugato and 3rd movement:
Allemanda (arr. Kathleen Wood)
List C
Concert Repertoire
Bach, Johann Christian
Sonata in D Major, op. 16, no. 1 ZIM
u
1st movement: Allegro assai and 2nd movement:
Andante grazioso
Bartók, Béla
l Evening in the Country, from Ten Easy Pieces (transc.
Tibor Fülep EMB)
Benda, František
Sonata in A Minor
l Tempo di Minuetto (in Classical Violinist B&H)
Bohm, Carl
Arabesken
u
Introduction and Polonaise (no. 12) FIS (in Solos for
Young Violinists, 2 ALF)
Corelli, Arcangelo
12 Sonate, op. 5 BAR; OTT
Sonata No. 1 in D Major
l 4th movement: Adagio and 5th movement: Allegro
Sonata No. 3 in C Major
l 1st movement: Adagio and 2nd movement: Allegro
Sonata No. 4 in F Major
l 1st movement: Adagio and 2nd movement: Allegro
Sonata No. 5 in G Minor
l 3rd movement: Adagio and 4th movement: Vivace
Bridge, Frank
Three Pieces for Violin and Piano FAB
u
Cradle Song (no. 3)
l Serenade (no. 2)
Copland, Aaron
Old American Songs, 2
l Ching-a-Ring Chaw (Minstrel Song) (in Copland for
Violin B&H)
l The Little Horses (Lullaby) (in Copland for Violin
B&H)
Eccles, Henry
Sonata in G Minor INT (in Suzuki Violin School, 8 ALF)
l two contrasting movements
Handel, George Frideric
Sonata No. 2 in G Minor, HWV 368 BAR; HEN; PET
l 1st and 2nd movements
l 1st and 4th movements
Sonata No. 4 in D Major, HWV 371 BAR; HEN; PET (in
Suzuki Violin School, 6 ALF)
l two contrasting movements
Sonata No. 6 in E Major, HWV 373 BAR; HEN; PET
l two contrasting movements
Cui, César
Kaleidoscope, op. 50 SIM
l Perpetuum mobile (no. 12)
u
Scherzetto (no. 22)
Elgar, Edward
l Chanson du Matin NOV
u
Chanson de Nuit NOV
Fiocco, Joseph Hector
l Allegro (in G Major) BAR; INT; OTT (in Suzuki Violin
School, 6 ALF)
Mendelssohn, Felix
Sonata in F Major (1820) BAR
u
1st movement: Allegro
Mozart, Wolfgang Amadeus
Sonata in E Minor, K 304 BAR; HEN
l 1st movement
Gluck, Christoph Willibald
l Mélodie (Dance of the Blessed Spirits), from Orfeo ed
Euridice (arr. Fritz Kreisler OTT and in Solos for
Young Violinists, 4 ALF)
Schubert, Franz
Sonatina in D Major, op. posth. 137, no. 1, D 384
BAR; HEN
l two contrasting movements
Heuberger, Richard
l Midnight Bells, from Der Opernball, op. 40 (arr. Fritz
Kreisler, in The Fritz Kreisler Collection, 2 FIS; Music
from the Romantic Era BOS)
Vivaldi, Antonio
Sonata in F Major, op. 2, no. 4, RV 20/F XIII:32
l 1st and 2nd movements
Järnefelt, Armas
u
Berceuse CHS
47
Level 7
Kreisler, Fritz
l Liebesleid FIS
l Menuet in the Style of Porpora OTT
l Rondino on a Theme by Beethoven FIS (in Solos for
Young Violinists, 4 ALF)
u
Syncopation OTT (in The Fritz Kreisler Collection, 2
FIS)
l Tempo di Minuetto in the Style of Pugnani OTT (in
Solos for Young Violinists, 3 ALF)
Veracini, Francesco Maria
Sonata in D Minor
l Gigue (in Suzuki Violin School, Revised Edition, 5 ALF)
Wachs, Paul
u
Air de Ballet (in The Violinist’s Contest Album FIS)
Weber, Carl Maria von
l Country Dance (in Suzuki Violin School, Revised
Edition, 5 ALF)
Mascagni, Pietro
l Intermezzo sinfonico, from Cavalleria rusticana (arr.
FIS; SCH)
Wieniawski, Henryk
l Kujawiak (Mazurka) COM
Młynarski, Emil
l Mazurka (arr. Barbara Barber, in Solos for Young
Violinists, 3 ALF)
Orchestral Excerpts
Students should be prepared to play the first violin
part of one excerpt from the following list. Students are
encouraged to listen to and become familiar with the
works from which these excerpts are taken. The student’s
ability to perform excerpts in a manner that demonstrates
an understanding of the style and context is an important
assessment criterion. For instructions regarding the
performance of chords please see p. 11.
Mondonville, Jean-Joseph Cassanéa de
Sonata No. 3 in G Major (in Solos for the Violin Player SCH)
l 4th movement: Tambourin
Moszkowski, Moritz
Spanische Tänze, op. 12, PET
u
Spanischer Tänz No. 1
• All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Paradis, Maria Theresia von
l Sicilienne OTT (in Solos for Young Violinists, 6 ALF)
Piazzolla, Astor
u
Ausencias (arr. Hywel Davies LIM)
Potstock, William H.
l Souvenir de Sarasate FIS (in Solos for Young Violinists,
3 ALF)
Each bulleted item (u) represents one selection for
assessment purposes.
Raff, Joachim
Six Morceaux, op. 85
l Cavatina (no. 3) EMB
Beethoven, Ludwig van
Symphony No. 5 in C Minor, op. 67
u
2nd movement: mm. 15–48, 77–86, 106–114
Ravel, Maurice
l Pavane pour une infante défunte OTT
Bizet, George
Carmen Suite No. 1
u
Les Toréadors (no. 5): mm. 1–101 (first eighth note)
Severn, Edmund
l Polish Dance FIS (in Solos for Young Violinists, 4 ALF)
Elgar, Edward
Serenade for String Orchestra, op. 20
u
1st movement: mm. 92–137 and 2nd movement:
mm. 1–32
Sheng, Bright
Three Fantasies for Violin and Piano SCH
l Dream Song (no. 1)
Handel, George Frideric
Messiah, HWV 56
u
Overture (“Symphony”): complete (mm. 1–97)
Shostakovich, Dmitri
l Spring Waltz, op. 27, no. 6 (arr. Konstantin
Fortunatov in Shostakovich: Albumstücke PET)
Haydn, Franz Joseph
String Quartet in C Major (“The Bird”), Hob. III:39
u
1st movement: mm. 1–59
Symphony No. 49 in F Minor (“La passione”), Hob. I:49
u
2nd movement: mm. 1–51
Toselli, Enrico
l Serenade, op. 6 (arr. Fredric Fradkin BMC)
Valdez, Charles Robert
l Sérénade du tzigane (Gypsy Serenade) (arr. Fritz
Kreisler in Favourite Encore Folio FIS)
Mendelssohn, Felix
String Quartet in E flat Major, op. 12
u
2nd movement (Canzonetta): mm. 1–49
Vaughan Williams, Ralph
l Fantasia on Greensleeves, from Sir John in Love (arr.
Michael Mullinar OUP)
Level 7
Mozart, Wolfgang Amadeus
Symphony No. 29 in A Major, K 201
u
1st movement: mm. 1–77 (beat 2)
48
Technical Requirements
Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
l one of nos. 1–7
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Kayser, Heinrich Ernst
Elementary and Progressive Studies for the Violin, op. 20
SCH; FIS
l no. 33
Etudes
Students must prepare one etude from the following list.
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
u
Étude No. 11 in E Major
l one of nos. 7–9, 13
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM
Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
ALF
u
In the Style of Beethoven (no. 6)
Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
spéciales SCH; INT
u
Division of the Bow in the Cantilena (no. 8)
u
The Mordant (no. 15)
l one of nos. 9, 17, 21, 28
Cohen, Mary
Technique Flies High! FAB
u
Wild Fire
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 10
Trott, Josephine
Melodious Double Stops, 2 SCH
u
Melodious Double Stops (no. 17)
l no. 14 or no. 16
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.
Scales
Major
Harmonic and Melodic Minor
Major Artificial Harmonics
Chromatic
Arpeggios
Major
Minor
Dominant 7th of Major Keys
Diminished 7th of Minor Keys
Double Stops
Major in 3rds, 6ths, and 8ves
Harmonic Minor in 3rds, 6ths, and
8ves
Keys
A,B,C
Range
Tempo
3 octaves
= 120
G
1 octave
= 80
on C, on D
2 octaves
= 108
3 octaves
= 72
3 octaves
= 100
3 octaves
= 100
1 octave
= 92
G,B,C
A,B,C
G,B,C
D (starting on A),
E (starting on B )
B (starting on A ),
B (starting on A )
Bowing
B,C
B,C
49
Level 7
Aural skills
Clapback
Students will choose to either clap or tap the rhythm of a short melody after the adjudicator has played it twice on the
piano.
Time Signatures
Approximate Length
four measures
Example only
1
2
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
Below a Given Note
major and minor 2nds
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
perfect octave
Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.
Chords
major and minor triads
dominant 7th
Level 7
Position
root position
root position
50
Playback
Students will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to
mediant, or dominant to dominant). The adjudicator will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 7 may include trills, grace notes,
triple stops, and spiccato.
Difficulty
Time Signatures
Level 5 repertoire
Keys
Positions
Approximate Length
C, F, B , G, D, A major
A, D, E, B minor
1st to 4th
sixteen to twenty measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
51
Level 7
Level 8
Students in Level 8 should have well developed spiccato,
sautillé, and ricochet strokes. Playing should show stylistic
awareness. Fluency and accuracy up to 7th position are
expected. Vibrato should pass from finger to finger and be
used consistently to support repertoire where appropriate.
Level 8 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
(The figures in parentheses for Lists A, C,
and D indicate the marks that will be
deducted for selections that are not
memorized.)
50
15 (1.5)
15
10 (1)
10 (1)
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Repertoire 8 FHM
Please note that cadenzas are required where indicated.
Unless otherwise noted, any cadenza is acceptable, as long
as the adjudicator is provided with an original copy of the
music, and it is equivalent in difficulty to the standard
cadenza for that work.
List A
Concertos, Airs variés, and Fantasias
Accolay, Jean-Baptiste
l Concerto in A Minor, op. 12 BAR; FIS; INT (in Solos
for Young Violinists, 3 ALF)
Orchestral Excerpts
two contrasting excerpts from the Syllabus list
10
Technical Requirements
Etudes: one etude from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
8
12
Aural skills
Intervals
Chords
Cadences
Playback
10
3
2
2
3
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Bach, Johann Sebastian
Concerto in A Minor, BWV 1041 BAR; INT (in Suzuki
Violin School, 7 ALF)
l 1st movement
Benda, Johann
Concerto in G major (arr. Samuel Dushkin OTT)
l 1st movement
Bériot, Charles-Auguste de
Concerto in B Minor, op. 32 PET
l 1st movement
l 3rd movement: Rondo Russe
Dancla, Charles
Airs variés, op. 118 FIS
l I Montecchi e I Capuletti (no. 1)
l Norma (no. 3)
l La Sonnambula (no. 4)
u
La Straniera (no. 2)
Haydn, Franz Joseph
Concerto in G Major, Hob. VIIa:4 (ed. Ferdinand Küchler
HEN)
u
1st movement (with cadenza by Franz Beyer)
→ begin at m. 20
Academic Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)
Repertoire
Komarowski, Anatoli
Concerto No. 1 in E Minor PET
u
1st movement (with cadenza)
Students must prepare four contrasting selections: one
from List A, one from List B, one from List C, and one from
List D. Students are encouraged to select repertoire in a
variety of keys and tempos, with no more than two works
from the same era (for example, only two selections from
the Baroque era).
Level 8
Seitz, Friedrich
Concerto No. 4 in D Major, op. 15 BOS; SCH
l 1st movement
52
List B
Sonatas and Sonatinas
Sonata No. 6 in C Major, BC12
l 1st movement: Largo andante and 3rd movement:
Presto assai
Vivaldi, Antonio
Sonata, op. 2, no. 7 (Realizzazione di Federico Mompellio)
ZAN
l 1st movement: Preludio and 2nd movement:
Allemanda
Albinoni, Tomaso
Sonata in D Major, op. 6, no. 7 EMA
l two contrasting movements
Sonata in G Minor, op. 6, no. 2 OTT; EMA
l 1st and 2nd movements
Bartók, Béla
Sonatina (transc. André Gertler EMB)
l 1st movement: Bagpipers and 2nd movement: Bear
Dance
List C
Concert Repertoire
Boulanger, Lili
Deux Morceaux SCH (in Violinmusik von Komponistinnen
OTT)
l Cortège (no. 2)
l Nocturne (no. 1)
Corelli, Arcangelo
12 Sonate, op. 5 BAR; OTT
Sonata No. 6 in A Major
l 1st movement: Grave and 5th movement: Allegro
Dvořák, Antonín
Sonatina in G Major, op. 100 BAR; FIS
l 1st movement: Allegro risoluto and 2nd movement:
Larghetto
u
2nd movement: Larghetto and 3rd movement: Molto
vivace
d’Ambrosio, Alfredo
l Canzonetta (in Romantic Violinist B&H)
Daquin, Louis-Claude
l Le coucou from Premier livre de pièces de clavecin (arr.
Györgyi Répássy EMB)
Elsner, Józef
Sonata in F Major, op. 10, no. 1 PWM
u
1st movement: Allegro
Debussy, Claude
l La fille aux cheveux de lin (transc. Arthur Hartmann
DUR)
Handel, George Frideric
Sonata No. 1 in A Major, HWV 361 BAR; HEN; PET (in
Suzuki Violin School, 7 ALF)
l 1st and 2nd movements
l 1st and 4th movements
Sonata No. 5 in A Major, HWV 372 BAR; HEN; PET
l 1st and 2nd movements
l 1st and 4th movements
Elgar, Edward
l Salut D’Amour OTT
Glazunov, Aleksandr
u
Albumblatt (transc. Jean-François Gonzales MPB)
Have, Willem ten
u
Allegro brillant, op. 19 FIS
Korngold, Erich Wolfgang
l Gartenszene from Viel Lärmen um nichts, op. 11 (in
Vier Stücke OTT)
Mozart, Wolfgang Amadeus
Sonata in G Major, K 293a (301) BAR; HEN
l 1st or 2nd movement
Kreisler, Fritz
l La gitana FIS
l Liebesfreud FIS
u
Schön Rosmarin FIS
l Sicilienne and Rigaudon in the Style of Francoeur
FIS; OTT (in Solos for Young Violinists, 5 ALF)
Schubert, Franz
Sonatina in G Minor, op. posth. 137, no. 3, D 408
BAR; HEN
l 1st and 2nd movements
Tartini, Giuseppe
12 Sonate e una pastorale, op. 1
Sonata No. 1 in A Major, BA14 MAS
l 1st movement: Grave and 3rd movement: Presto
Sonata No. 4 in G Major, BG17 PET; KAL
l 1st movement: Grave and 2nd movement: Fuga
12 Sonate, op. 2 ZAN
Sonata No. 1 in D Major, BD13
l 3rd movement: Affettuoso and 4th movement:
Allegro assai
Sonata No. 2 in G Major, BG18
l 1st movement: Andante affettuoso and 3rd
movement: Allegro
Kulesha, Gary
Song and Dance
u
Dance
Martinů, Bohuslav
Intermezzo BAR
l Andante (no. 3)
l Poco allegro (no. 4)
53
Level 8
List D
Unaccompanied Repertoire
Massenet, Jules
l Méditation, from Thaïs PET (transc. M.P. Marsick
UMP; in Solos for Young Violinists, 5 ALF)
Monti, Vittorio
l Csárdás RIC; FIS; (in Solos for Young Violinists, 5 ALF;
BAR)
Bach, Johann Sebastian
Partita No. 2 in D Minor, BWV 1004 BAR; HEN
u
4th movement: Giga
Partita No. 3 in E Major, BWV 1006 BAR; HEN
u
6th movement: Bourrée
l 7th movement: Gigue
Morley, Angela
l Rêverie for Violin and Piano NOV
Moszkowski, Moritz
Spanische Tänze, op. 12 PET
l Spanischer Tänz (no. 2)
Telemann, Georg Philipp
Twelve Fantasias for Violin BAR; INT
Fantasia No. 1 in B flat Major, TWV 40:14
l 1st movement: Largo
Fantasia No. 7 in E flat Major, TWV 40:20
u
1st movement: Dolce
l 2nd movement: Allegro
Fantasia No. 8 in E Major, TWV 40:21
l 2nd movement: Spirituoso
Fantasia No. 12 in A Minor, TWV 40:25
l 1st movement: Moderato
l 2nd movement: Vivace
Perrault, Michel Brunet
u
Solitude BER
Ries, Franz Anton
l Perpetuum mobile, op. 34, no. 5 FIS
Sarasate, Pablo de
l Playera (Spanish Dance, op. 23, no. 5) (in Romantic
Violinist B&H)
Schubert, François
Bagatelles, op. 13
u
Die Biene (no. 9) EMB
Schumann, Robert
l Vogel als Prophet, from Waldscenen, op. 82, no. 7
(transc. Leopold Auer ZIM)
Drei Romanzen, op. 94 PET
l Romance No. 2 (arr. Fritz Kreisler OTT)
l Romance No. 3
Senaillé, Jean-Baptiste
l Les polichinelles (arr. Alfred Moffat OTT)
Shostakovich, Dmitri
u
Romance, from Ovod (The Gadfly), op. 97 (arr.
Konstantin Fortunatov, in Shostakovich: Albumstücke
PET)
Sibelius, Jean
Five Pieces, op. 81
l Rondino (no. 2) B&H
Smetana, Bedřich
From the Homeland (Z domoviny) BAR
u
1st movement: Moderato
Wieniawski, Henryk
Two Mazurkas, op. 19 PWM; MAS; PET
l Mazurka (Le ménétrier) (no. 2) EMB
u
Mazurka (Obertass) (no. 1)
Willeke, Willem
l Chant sans paroles (arr. Fritz Kreisler in Favorite
Encore Folio FIS)
Level 8
54
Orchestral Excerpts
Technical Requirements
Students should be prepared to play the first violin part of
two contrasting excerpts by two different composers from
the following list. Students are encouraged to listen to and
become familiar with the works from which these excerpts
are taken. The student’s ability to perform excerpts in a
manner that demonstrates an understanding of the style
and context is an important assessment criterion. For
instructions regarding the performance of chords please
see p. 11.
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Etudes
Students must prepare one etude from the following list.
Bullets used to denote selections for assessment purposes:
l one selection
u
selection is found in Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM
• All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Barlowe, Amy
Twelve Etude-Caprices in the Styles of the Great Composers
ALF
u
In the Style of Bach (no. 2)
Each bulleted item (u) represents one selection for
assessment purposes.
Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMA
Divertimento No. 2
u
Polonaise and Trio
→ play in 2nd position
Bach, Johann Sebastian
Brandenburg Concerto No. 3 in G Major, BWV 1048
u
3rd movement: mm. 1–18 (second eighth note), mm.
24–35
Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
l one of nos. 8–12
Beethoven, Ludwig van
Symphony No. 2 in D Major, op. 36
u
3rd movement: mm. 1–84 and 4th movement: mm.
1–25
Fiorillo, Federigo
Étude de violon formant 36 caprices, op. 3 INT; SCH
u
Caprice in B flat Major (no. 5)
u
Caprice in E flat Major (no. 6)
l one of nos. 3, 16, 28
Grieg, Edvard
Holberg Suite, op. 40
u
1st movement (Prelude): mm. 1–30 and 4th
movement (Air): mm. 1–29
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
u
Étude No. 12 in A Minor
l one of nos. 10, 14–17
Haydn, Franz Joseph
Symphony No. 94 in G Major (“Surprise”), Hob. I:94
u
2nd movement: mm. 1–24, 49–74, 107–114
Mozart, Wolfgang Amadeus
String Quartet in D Minor, K 421
u
1st movement: mm. 1–41 and 3rd movement:
Menuetto and Trio (complete)
Symphony No. 25 in G Minor, K 183
u
1st movement: mm. 1–12, 29–83 (beat 1)
Mazas, Jacques-Féréol
Études mélodiques et progressives, op. 36, book 1: Études
spéciales SCH; INT
u
Étude spéciale (no. 30: Ronde Villageoise)
Études mélodiques et progressives, op. 36, book 2: Études
brillantes SCH; INT
u
Étude brillante (no. 34: Staccato)
l one of nos. 33, 35, 39
Saint-Saëns, Camille
Le carnaval des animaux
u
14th movement (Final): mm. 53–92
Polo, Enrico
30 Studi a Corde Doppie RIC
l no. 15 or no. 23
55
Level 8
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin
Technique and Etudes 5–8 FHM for required patterns.
Scales
Keys
Major
B, D , D
Harmonic and Melodic Minor
B, C , D
Major Artificial Harmonics
Chromatic
Range
Tempo
3 octaves
= 138
A, B
1 octave
= 108
on G, on A, on B
3 octaves
= 120
3 octaves
= 84
3 octaves
= 108
3 octaves
= 108
2 octaves
= 72
1 octave
= 72
Arpeggios
Major
Minor
Dominant 7th of Major Keys
Diminished 7th of Minor Keys
B, D , D
B, C , D
D (starting on A ),
E (starting on B),
F (starting on C)
A (starting on G ),
C (starting on B ),
C (starting on B )
Double Stops
Major in 3rds, 6ths, 8ves
G, A
Harmonic Minor in 3rds, 6ths, 8ves G, A
Melodic Minor in 3rds, 6ths, 8ves
G, A
Level 8
56
Bowing
Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
major and minor 2nds
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
minor 7th
perfect octave
Below a Given Note
major 2nd
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
Chords
Students will be asked to identify the following chords after the adjudicator has played the chord once in blocked form,
close position on the piano.
Chords
major and minor triads
dominant 7th
diminished 7th
Position
root position
root position
root position
Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
perfect or authentic
plagal
Symbols
V–I
IV–I
Example only
57
Level 8
Playback
Students will be asked to play back a melody on the violin, approximately one octave in range. The adjudicator will name
the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
C, G, D, A, E major
Approximate Length
nine notes
Example only
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 8 may include chromatic
passages, mordants, and artificial harmonics.
Difficulty
Level 6 repertoire
Time Signatures
Keys
Positions
Approximate Length
C, F, B , G, D, A, E major
A, D, G, E, B, C minor
1st to 5th
sixteen to twenty measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
Level 8
58
Level 9
Students in Level 9 should be able to execute all bow
strokes and maintain control and security in any position.
A mature, singing tone with an expressive and varied
vibrato is expected. Playing should exhibit stylistic
awareness.
Level 9 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
(The figures in parentheses for Lists A, C, and
D indicate the marks that will be deducted for
selections that are not memorized.)
50
15 (1.5)
15
10 (1)
10 (1)
Orchestral Excerpts
two contrasting excerpts from the Syllabus list
10
Technical Requirements
Etudes: one etude from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20
8
12
Aural skills
Intervals
Chords
Cadences
Playback
10
3
2
2
3
Reading skills
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Each bulleted item (l) represents one selection for
assessment purposes.
Please note that cadenzas are required where indicated.
Unless otherwise indicated, any cadenza is acceptable,
as long as the adjudicator is provided with an original
copy of the music, and it is equivalent in difficulty to the
standard cadenza for that work.
List A
Concertos
Bériot, Charles-Auguste de
Concerto No. 1 in D Major, op. 16 PET
l 1st movement (to first tutti)
Concerto No. 7 in G Major, op. 76 FIS
l 1st movement
Concerto No. 9 in A Minor, op. 104 PET
l 1st and 2nd movements
l 2nd and 3rd movements
Haydn, Franz Joseph
Concerto No. 1 in C Major Hob. VIIa:1 HEN; PET
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Kreutzer, Rodolphe
Concerto No. 13 in D Major FIS
l 1st and 2nd movements
Mozart, Wolfgang Amadeus
Concerto in B flat Major, K 207 BAR; PET; INT
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Concerto in D Major, K 211 BAR; PET; INT
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Concerto in G Major, K 216 BAR; PET; INT
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Academic Co-requisites
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Rieding, Oskar
Concerto in D Major, op. 5 BUT
l complete
Concerto in E Minor, op. 7 BOS
l complete
Students must prepare four contrasting selections: one
from List A, one from List B, one from List C, and one from
List D. Students are encouraged to select repertoire in a
variety of keys and tempos, with no more than two works
from the same era (for example, only two selections from
the Baroque era).
Rode, Pierre
l Air Varié (in Classical Violinist B&H)
Concerto No. 7 in A Minor, op. 9 SCH; INT
l 1st movement (with cadenza) and 2nd movement
l 2nd and 3rd movement
Concerto No. 8 in E Minor, op. 13 SCH; PET
l 1st and 2nd movements
Repertoire
59
Level 9
Viotti, Giovanni Battista
Concerto No. 23 in G Major PET
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Veracini, Francesco Maria
Sonata in E Minor, op. 2, no. 8 INT; RIC (in Suzuki Violin
School, 8 ALF)
l 1st and 2nd movements
Vivaldi, Antonio
Il cimento dell’armonia e dell’inventione, op. 8 BAR
l Concerto No. 1 in E Major (La primavera), RV 269
l Concerto No. 2 in G Minor (L’estate), RV 315
l Concerto No. 3 in F Major (L’autunno), RV 293
l Concerto No. 4 in F Minor (L’inverno), RV 297
Vivaldi, Antonio
Sonata in D Major, RV 10/F XII: 6 (transc. Ottorino
Respighi RIC)
l two contrasting movements
Willan, Healey
Sonata No. 1 in E Minor BER
l 1st movement
List B
Sonatas and Sonatinas
List C
Concert Repertoire
Adaskin, Murray
Sonatine baroque for solo violin RIC
l 3rd movement
Achron, Joseph
l Hebrew Melody, op. 33 FIS
Beethoven, Ludwig van
Sonata in A Major, op. 12, no. 2 HEN
l 1st movement
Sonata in D Major, op. 12, no. 1 HEN
l 1st movement
Sonata in F Major (“Spring”), op. 24 HEN
l 1st movement
Albeniz, Isaac
l Malagueña (arr. Fritz Kreisler FIS) MAS
l Mallorca, from Three Spanish Dances MAS
l Tango in D Major, op. 165, no. 2 INT (arr. Samuel
Dushkin OTT)
Bacewicz, Grażyna
l Humoreska (in Violinmusik von Komponistinnen OTT)
l Polish Caprice for Violin Solo PWM
Elsner, Józef
Sonata in F Major, op. 10, no. 1 PWM
l 2nd and 3rd movements
Barber, Samuel
l Canzone, op. 38 (in Samuel Barber: Music for Violin
and Piano SCH)
Hindemith, Paul
Sonata in E flat Major, op. 11, no. 1 OTT
l 1st movement
Beethoven, Ludwig van
l Romance in F Major, op. 50 BAR; SCH
Leclair, Jean Marie
Sonata in D Major, op. 9 SCH
l two contrasting movements
Bridge, Frank
l Moto Perpetuo B&H
Mozart, Wolfgang Amadeus
Sonata in C Major, K 296 BAR; HEN
l 1st movement
Sonata in F Major, K 374d (376) BAR: HEN
l 1st movement
Sonata in F Major, K 374e (377) BAR; HEN
l 1st movement
Sonata in F Major, K376 BAR; HEN
l 3rd movement
Brahms, Johannes
l Hungarian Dance No. 5 from Hungarian Dances WoO
1 (arr. Joseph Joachim FIS)
Bruch, Max
l Kol Nidre, op. 47 FIS
Copland, Aaron
l Vieux Poème (Old Poem) (in Copland for Violin B&H)
Debussy, Claude
l La plus que lent (arr. Leon Rocques DUR)
Paganini, Nicolò
l Sonata in E Minor, op. 3, no. 12 INT
Dvořák, Antonín
l Slavonic Dance No. 1 in G Minor, arr. from op. 46,
no. 2 and op. 72, no. 1 (arr. Fritz Kreisler, in The
Fritz Kreisler Collection, 2 FIS)
l Slavonic Dance No. 3 in G Major, from op. 72, no.
8 (arr. Fritz Kreisler in The Fritz Kreisler Collection, 2
FIS)
Romantic Pieces, op. 75 BAR; HEN
l two pieces
Schubert, Franz
Sonatina in A Minor, op. posth. 137, no. 2, D 385
BAR; HEN
l 1st and 2nd movements
Tartini, Giuseppe
Sonata in G Minor (“Didone Abbandonata”), op. 1, no. 10,
Bg10 OTT; RIC
l 1st and 2nd movements
Level 9
60
Orchestral Excerpts
Godowsky, Leopold
l Alt-Wien, from Triakontameron (arr. Jascha Heifetz
FIS)
Students should be prepared to play the first violin part of
two contrasting excerpts by two different composers from
the following list. Students are encouraged to listen to and
become familiar with the works from which these excerpts
are taken. The student’s ability to perform excerpts in a
manner that demonstrates an understanding of the style
and context is an important assessment criterion. For
instructions regarding the performance of chords please
see p. 11.
Holt, Patricia Blomfield
Suite No. 2 BER
l two contrasting movements
Hubay, Jenö
l Hejre Kati (Scènes de la Csárda no. 4), op. 32 SCH;
FIS
Kreisler, Fritz
l Romance, op. 4 MAS
• All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Moszkowski, Moritz
Spanische Tänze, op. 12
l Spanischer Tänz (no. 5)
Mozart, Wolfgang Amadeus
l Rondo in C Major, K 373 BAR; INT
Each bulleted item (u) represents one selection for
assessment purposes.
Rachmaninoff, Sergei
l Vocalise, op. 34, no. 14 INT (in Solos for Young
Violinists, 6 ALF)
Beethoven, Ludwig van
String Quartet No. 4 in C Minor, op. 18
u
4th movement: pickup to mm. 41–86
Symphony No. 1 in C Major, op. 21
u
3rd movement: mm. 1–103 and 4th movement: mm.
1–47 (first sixteenth note)
Sarasate, Pablo de
l Malagueña (Danse espagnole, op. 21, no. 1) INT
Shostakovich, Dmitri
Nine Preludes, op. 34
l two contrasting nos. 1, 2, 5, 6, 8, 9
Britten, Benjamin
The Young Person’s Guide to the Orchestra: Variations and
Fugue on a Theme of Henry Purcell, op. 34
u
Variation M: mm. 1–54
Stravinsky, Igor
l Ballad, from The Fairy’s Kiss B&H
Suk, Joseph
Four Pieces, op. 17 ALF; SIM
l one piece
Dvořák, Antonín
Serenade for Strings in E Major, op. 22
u
2nd movement: pickup to mm. 1–46, pickup to mm.
80–158
Svendsen, Johan
l Romance, op. 26 PET; FIS
Haydn, Franz Joseph
Symphony No. 104 in D Major, Hob. I:104 (“London”)
u
1st movement: mm. 17–64 and 2nd movement: mm.
1–8, 42–56
Tchaikovsky, Pyotr Il’yich
l Mélodie, op. 42, no. 3 FIS; INT
List D
Unaccompanied Repertoire of Johann
Sebastian Bach
Mozart, Wolfgang Amadeus
Symphony No. 40 in G Minor, K 550
u
1st movement: mm. 1–42 and 4th movement: mm.
1–48
Bach, Johann Sebastian
Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Courante
Partita No. 2 in D Minor, BWV 1004 BAR; HEN
l Allemande
l Corrente
l Sarabanda
Partita No. 3 in E Major, BWV 1006 BAR; HEN
l Gavotte en rondeau
l Loure
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
l Siciliana
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Allegro assai
Rossini, Gioachino
La gazza ladra
u
Overture: pickup to mm.4–11, pickup to mm.
42–49, 62–114
61
Level 9
Technical Requirements
Dont, Jacob
Twenty-four Exercises, op. 37 INT; SCH
l one of nos. 13–24
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Dancla, Charles
20 Études brillantes et caractéristiques, op. 73 EMB
l no. 4 or no. 8
Etudes
Fiorillo, Federigo
36 Etudes or Caprices INT; SCH
l one of nos. 7, 21, 22, 31
Students must prepare one etude from the following
list. Each bulleted item (l) represents one selection for
assessment purposes.
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
l one of nos. 18–26
Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMA
Divertimento No. 1
l Menuetto and Trio
l Siciliano
Divertimento No. 3
l Allemande
Rode, Pierre
24 Caprices FIS; INT
l one of nos. 1–3, 5, 8, 10
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory.
Scales
Major
Harmonic and Melodic Minor
Keys
E , E, F
Range
Tempo
3 octaves
= 84
G, A
2 octaves
= 84
on B, on C, on D
3 octaves
= 72
3 octaves
= 92
3 octaves
= 60
3 octaves
= 60
2 octaves
= 84
E , E, F
Major Artificial Harmonics
Chromatic
Arpeggios
Major
E , E, F
Minor
E , E, F
Dominant 7th of Major Keys
G (starting on D ),
G (starting on D),
A (starting on E )
D (starting on C ),
E (starting on D ),
E (starting on D )
Diminished 7th of Minor Keys
Double Stops
Major in 3rds, 6ths, 8ves
Harmonic and Melodic Minor
in 3rds, 6ths, 8ves
Level 9
B,C
B,C
62
Bowing
|
œ |œ
Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
any interval within the octave
Below a Given Note
any interval within the octave except the
augmented 4th/diminished 5th
Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in blocked form, close position on the piano.
Chords
major and minor triads
dominant 7th
diminished 7th
Position
root position, 1st inversion
root position
root position
Cadences
Students will be asked to identify the following cadences by name or symbols. The adjudicator will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
perfect or authentic
plagal
imperfect
Symbols
V–I
IV–I
I–V
Example only
Playback
Students will be asked to play back the upper part of a two-part phrase on the violin. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
any major key
Approximate Length
two or three measures
Example only
63
Level 9
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 9 may include turns, thirtysecond notes, and restez position indications.
Difficulty
Time Signatures
Level 7
repertoire
Keys
Positions
Approximate Length
C, F, B , E , G, D, A, E major
A, D, G, E, B, C minor
1st to 6th
sixteen to twenty
measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four to six measures
Example only
Level 9
64
Level 10
Students in Level 10 should be able to execute all bow
strokes and maintain control and security in any position.
Intonation should be precise. Tone should be mature and
soloistic, with an expressive and varied vibrato. Playing
should be sophisticated, nuanced, and stylistically aware.
Please see “Co-requisites and Prerequisites” on p. 8,
“Classification of Marks” on p. 79, and “Supplemental
Assessments” on p. 81 for important details regarding
Level 10 standing for an Associate Diploma assessment
application.
Level 10 students who wish to pursue an Associate
Diploma in Violin Performance or a Teacher’s Associate
Diploma must achieve either an overall mark of 75 or
a minimum of 70 percent in each section of the Level
10 assessment. Figures in bold parentheses indicate
the minimum number of marks required to receive the
equivalent of 70 percent.
Level 10 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
(The figures in parentheses for Lists A,
C, and D indicate the marks that will
be deducted for selections that are not
memorized.)
50 (35)
15 (1.5)
15
10 (1)
10 (1)
Repertoire
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Students must prepare four contrasting selections: one from
List A, one from List B, one from List C, and one from List
D. Students are encouraged to select repertoire in a variety
of keys and tempos, with no more than two works from
the same era (for example, only two selections from the
Baroque era).
Each bulleted item (l) represents one selection for
assessment purposes.
Please note that cadenzas are required where indicated.
Unless otherwise indicated, any cadenza is acceptable,
as long as the adjudicator is provided with an original
copy of the music, and it is equivalent in difficulty to the
standard cadenza for that work.
Orchestral Excerpts
two contrasting excerpts from the Syllabus
list
10 (7)
Technical Requirements
Etudes: one etude from the Syllabus list
Technical Tests
– scales
– arpeggios
– double stops
20 (14)
8
12
Aural skills
Intervals
Chords
Cadences
Playback
10 (7)
2
2
3
3
Bruch, Max
Concerto in G Minor, op. 26 PET; SCH; INT
l 1st and 2nd movements
l 2nd and 3rd movements
Reading skills
Playing
Clapping
10 (7)
7
3
Kabalevsky, Dmitri
Concerto in C Major, op. 48 INT
l 1st and 2nd movements
l 2nd movement and 3rd movement (complete)
Total possible marks (pass = 60)
List A
Concertos
Barber, Samuel
Concerto, op. 14 SCH
l 1st movement (with cadenza) and 2nd movement
100
Khachaturian, Aram
Concerto in D Minor B&H
l 1st and 2nd movements
l 2nd and 3rd movements
Academic Co-requisites
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Lalo, Edouard
Symphonie espagnole, op. 21 SCH
l 2nd and 3rd movements
65
Level 10
Mozart, Wolfgang Amadeus
Concerto in D Major, K 218 BAR; INT
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Schumann, Robert
Sonata in A Minor, op. 105, no. 1 PET
l 1st and 2nd movements
Vallerand, Jean
Sonata (1950) DOM
l two contrasting movements
Spohr, Louis
Concerto No. 2 in D Minor, op. 2 PET
l 1st and 2nd movements
Concerto No. 9 in D Minor, op. 55 PET
l 1st and 2nd movements
List C
Concert Repertoire
Viotti, Giovanni Battista
Concerto No. 22 in A Minor SCH
l 1st movement (with cadenza) and 2nd movement
(with cadenza)
Anonymous
l Ciaccona in G Minor (attr. Tomaso Antonio Vitali)
(ed. Diethard Hellmann BAR; arr. Léopold Charlier
FIS; arr. Leopold Auer FIS)
List B
Sonatas
Archer, Violet
l Prelude and Allegro BER
Bartók, Béla
l Hungarian Folk Songs (transc. Tivadar Országh EMB)
l Roumanian Folk Dances UNI (in Solos for Young
Violinists, 6 ALF)
Beethoven, Ludwig van
Sonata in A Minor, op. 23 HEN
l 1st and 2nd movements
Sonata in A Major, op. 30, no. 1 HEN
l 1st and 2nd movements
Sonata in G Major, op. 30, no. 3 HEN
l 1st and 2nd movements
Sonata in G Major, op. 96 HEN
l 1st and 2nd movements
Bax, Arnold
l Legend MAS
Beethoven, Ludwig van
l Romance in G Major, op. 40 BAR; HEN
Bériot, Charles-Auguste de
l Scène de Ballet, op. 100 SCH; FIS
Brahms, Johannes
Sonata in A Major, op. 100 HEN; INT
l 1st and 2nd movements
Sonata in G Major, op. 78 HEN; INT
l 1st and 2nd movements
Bloch, Ernest
l Nigun, from Baal Shem FIS
Boulanger, Lili
l D’un Matin de Printemps FAB, SCH
Grieg, Edvard
Sonata in C Minor, op. 45, no. 3 PET; SCH
l 1st and 2nd movements
Sonata in F Major, op. 8, no. 1 PET; SCH
l 1st and 2nd movements
Brahms, Johannes
Hungarian Dances WoO 1 (arr. Joseph Joachim FIS)
l one of nos. 1, 2, 3
Copland, Aaron
l Hoe-down, from Rodeo B&H
Hindemith, Paul
Sonata in C Major (1939) OTT
l 1st and 2nd movements
Debussy, Claude
l Golliwogg’s Cake-walk (arr. Jascha Heifetz, in The
Heifetz Collection, 1 FIS)
Mozart, Wolfgang Amadeus
Sonata in A Major, K 526 BAR; HEN
l 1st and 2nd movements
Sonata in E flat Major, K 481 BAR; HEN
l 1st movement
Dvořák, Antonín
l Romance in F Minor, op. 11 INT, SCH
l Slavonic Dance in E Minor, op. 46, no. 2 (arr. Fritz
Kreisler FIS)
Prokofiev, Sergei
Sonata, op. 115 PET
l 1st and 2nd movements
l 2nd and 3rd movements
Kreisler, Fritz
l Praeludium and Allegro (in the Style of Pugnani)
OTT; FIS
l Variations on a Theme of Corelli (in the Style of
Giuseppe Tartini) OTT; FIS
Schubert, Franz
Sonata in A Major, op. posth. 162, D 574 BAR; HEN; OTT
l 1st and 2nd movements
Level 10
Kroll, William
l Banjo and Fiddle SCH
66
Orchestral Excerpts
Moszkowski, Moritz
l Guitarre, op. 45, no. 2 FIS; PET
Students should be prepared to play the first violin part of
two contrasting excerpts by two different composers from
the following list. Students are encouraged to listen to and
become familiar with the works from which these excerpts
are taken. The student’s ability to perform excerpts in a
manner that demonstrates an understanding of the style
and context is an important assessment criterion. For
instructions regarding the performance of chords please
see p. 11.
Mozart, Wolfgang Amadeus
l Rondo in G Major, from Haffner Serenade, K 250 (arr.
Fritz Kreisler OTT; FIS)
Novácek, Ottokar
l Moto perpetuo INT
Prokofiev, Sergei
l Five Melodies, op. 35 bis B&H
l March from Love for Three Oranges (arr. Jascha Heifetz
FIS)
• All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Sarasate, Pablo de
l Romanza Andaluza (Danse espagnole, op. 22, no. 1)
INT
Schumann, Robert
l Dedication (in Auer Selected Pieces MUZ)
Each bulleted item (u) represents one selection for
assessment purposes.
Sinding, Christian
Suite in A Minor, op. 10 INT
l 1st and 2nd movements
l 3rd and 4th movements
Beethoven, Ludwig van
Symphony No. 9 in D Minor, op. 125
u
2nd movement: mm. 21–93 (beat 1) and 3rd
movement: mm. 99–114
Tchaikovsky, Pyotr Il’yich
l Scherzo, op. 42, no. 2 PET
l Sérénade mélancolique, op. 26 PET
Berlioz, Hector
Symphonie fantastique, op. 14
u
1st movement (Rêveries, passions): mm. 3–24 and
2nd movement (Un bal): pickup to mm. 39–94 (first
sixteenth note), pickup to mm. 257–302
Webern, Anton von
l Four Pieces, op. 7 UNI
Wieniawski, Henryk
l Légende, op. 17 FIS
Brahms, Johannes
Symphony No. 1 in C Minor, op. 68
u
1st movement: mm. 1–29, 41–70
List D
Unaccompanied Repertoire of Johann
Sebastian Bach
Dvořák, Antonín
String Quartet No. 12 in F Major (“American”), op. 96
u
1st movement: pickup to mm. 112–152 (beat 1)
Mendelssohn, Felix
Symphony No. 4 in A Major (“Italian”), op. 90
u
1st movement: mm. 1–110
Bach, Johann Sebastian
Partita No. 1 in B Minor, BWV 1002 BAR; HEN
l Allemande and Double
l Sarabande and Double
l Tempo di bourrée and Double
Partita No. 3 in E Major, BWV 1006 BAR; HEN
l Preludio
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
l Adagio
l Presto
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN; INT
l Allegro
l Andante
Sonata No. 3 in C Major, BWV 1005 BAR; HEN; INT
l Adagio
l Largo
Mozart, Wolfgang Amadeus
Die Zauberflöte, K 620
u
Overture: mm. 20–96, 216–end
Tchaikovsky, Pyotr Il’yich
Serenade for Strings, op. 48
u
1st movement: mm. 1–36, 91–138
Symphony No. 4 in F Minor, op. 36
u
1st movement: pickup to mm. 70–103 and 2nd
movement: mm. 85–117 and 4th movement: mm.
30–59
Weber, Carl Maria von
Oberon, J 306
u
Overture: mm. 11–16, pickup to mm. 23–55, 117–
145
67
Level 10
Technical Requirements
Dont, Jacob
Etudes and Caprices, op. 35 SCH; INT
l any one
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
assessment.
Etudes
Gaviniès, Pierre
24 Études (Matinées) PET; INT
l any one
Students must prepare one etude from the following
list. Each bulleted item (l) represents one selection for
assessment purposes.
Kreutzer, Rodolphe
Quarante-deux études ou caprices INT
l one of nos. 27–42
Campagnoli, Bartolomeo
7 Divertimenti, op. 18 RIC; KMH
Divertimento No. 4
l Bolero
l Finale
Divertimento No. 5
l Allegro
Divertimento No. 6
l Finale
Locatelli, Pietro
The Art of the Violin: 24 Caprices for Solo Violin, op. 3 RIC
l any one
Rode, Pierre
24 Caprices FIS; INT
l one of nos. 4, 6, 7, 9, 11–24
Rovelli, Pietro
12 Caprices, op. 3 IMS
l any one
Dancla, Charles
20 Études brillantes et caractéristiques, op. 73 EMB
l no. 6 or no. 16
Level 10
68
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the assessment.
Students must play all scales, arpeggios, and double stops from memory.
Scales
Major
Keys
all keys
Harmonic and Melodic Minor
all keys
Major Artificial Harmonics
B
Harmonic and Melodic Minor
Artificial Harmonics
B
Chromatic
Arpeggios
Major
Minor
Dominant 7th of Major Keys
Diminished 7th of Minor Keys
Double Stops
Major in 3rds, 6ths, 8ves
Harmonic and Melodic Minor in
3rds, 6ths, 8ves
Major in Solid Fingered 8ves
Major in Solid 10ths
Range
Tempo
3 octaves
= 90
2 octaves
= 84
3 octaves
= 84
3 octaves
= 108
all keys
3 octaves
= 72
all keys
3 octaves
= 72
2 octaves
= 104
one key
(student’s
choice)
1 octave
alternate 1–3 and
2–4 fingering
= 104
one key
(student’s
choice)
1 octave
on A and E strings
= 104
on any note
all keys
all keys
Bowing
|
œ |œ
D, E, F
D, E, F
Aural skills
Intervals
Students will be asked to identify the following intervals. The adjudicator will play each interval once in broken form on
the piano.
or
Students may choose to sing or hum the following intervals. The adjudicator will play the first note once on the piano.
Above a Given Note
any interval within the octave
Below a Given Note
any interval within the octave
Chords
Students will be asked to identify the following chords and their inversion or position after the adjudicator has played the
chord once in blocked form, close position on the piano.
Chords
Position
major and minor four-note chords
root position, 1st inversion, 2nd inversion
dominant 7th
root position
diminished 7th
root position
69
Level 10
Cadences
Students will be asked to identify by name or symbols the following cadences played within a single phrase. The phrase
may be in a major or minor key and may contain up to three cadences. The adjudicator will play the tonic chord once,
then play the phrase twice.
Name of Cadence
perfect or authentic
plagal
imperfect
deceptive (interrupted)
Symbols
V(7) –I
IV–I
I –V
V(7) –VI
Example only
Playback
Students will be asked to play back the lower part of a two-part phrase on the violin. The adjudicator will name the key,
play the tonic triad once, and play the phrase twice on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
any major key
Approximate Length
two to four measures
Example only
Reading skills
Playing
Students will be asked to play a short melody at sight. New features introduced at Level 10 may include cadenza-like
passages, double sharps, double flats, and changes of meter.
Difficulty
Level 8
repertoire
Time Signatures
Keys
any major or
minor key
Positions
any position, including sul
string option
Approximate Length
sixteen to twenty
measures
Clapping
Students will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four to six measures
Example only
Level 10
70
Associate Diploma in Violin Performance
The Associate Diploma in Violin Performance is the
culmination of The Royal Conservatory Music
Development Program, and is evaluated as a concert
performance. Excellence in every aspect of performance
is expected. Students are expected to perform with
confidence, communicating the essence of the music while
demonstrating a command of the instrument. A detailed
understanding of the stylistic and structural elements of
each repertoire selection is expected. Students must
achieve an Honors standing (70 percent) in order to be
awarded an Associate Diploma in Violin Performance.
For descriptions of performance marks, please see
“Marking Criteria for Repertoire” on p. 79. An Associate
Diploma student’s performance of a work may receive a
failing grade for any of the following reasons:
• repeated breaks in continuity
• substantial omissions
• lack of technical control
• textual inaccuracies
• inappropriate tempo, character, or style
Associate Diploma in Violin Performance
Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
one selection from List D
(The figures in parentheses for Lists A, C, and
D indicate the marks that will be deducted for
selections that are not memorized.)
80
20 (2)
20
20 (2)
20 (2)
Orchestral Excerpts
two excerpts from the Syllabus list
– one from Group 1 (Orchestral Tutti Parts)
– one from Group 2 (Concertmaster Solos and
Chamber Music Repertoire)
20
Total possible marks (pass = 70)
100
10
10
Academic Prerequisites
Advanced Rudiments
Intermediate Harmony or Intermediate
Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
The Associate Diploma Assessment
Please see “Co-requisites and Prerequisites” on p. 8,
“Classification of Marks” on p. 79, and “Supplemental
Assessments” on p. 81 for important details regarding
the Associate Diploma in Violin Performance assessment.
Students are strongly recommended to study for at least
two years after passing the Level 10 assessment.
Academic Co-requisites
History 3: 19th Century to Present
And any two of:
Advanced Harmony or Advanced Keyboard
Harmony
Counterpoint
Analysis
Piano Co-requisite
Level 6 Piano
71
Associate Diploma in Violin Performance
Repertoire
Po, Liang Shan and Zhu Ying Tai
l Butterfly Lover’s Concerto (arr. Guan Sheng You)
Please see “Assessment Repertoire” on p. 9 for important
information regarding this section of the assessment.
Prokofiev, Sergei
Concerto No. 1 in D Major, op. 19 INT
l 1st and 2nd movements
Concerto No. 2 in G Minor, op. 63 INT
l 1st and 2nd movements
Students must prepare four contrasting selections by four
different composers: one from List A, one from
List B, one from List C, and one from List D. Students
are expected to select repertoire in a variety of keys and
tempos, representing at least three different historical eras.
Saint-Saëns, Camille
Concerto in B Minor, op. 61 SCH; INT
l 1st and 2nd movements
l 2nd and 3rd movements
Each bulleted item (l) represents one selection for
assessment purposes. Unless otherwise indicated,
students should prepare the complete work. Note that the
selections in List B need not be memorized.
Tchaikovsky, Pyotr Il’yich
Concerto in D Major, op. 35 HEN; INT; OTT; BOS; KAL
l 1st movement (with cadenza)
l 2nd and 3rd movements
The length of the performance must be between 40 and
50 minutes. The adjudicator may stop the performance if
it exceeds the allotted time.
Vieuxtemps, Henri
Concerto No. 4 in D Minor, op. 31 FIS; INT
l 1st and 2nd movements
Concerto No. 5 in A Minor, op. 37 PET; INT
l 1st and 2nd movements
Please note that cadenzas are required where indicated in
the score. In general, any cadenza is acceptable, as long as
the adjudicator is provided with an original copy of the
music, and it is equivalent in difficulty to the standard
cadenza for that work.
Wieniawski, Henryk
Concerto in D Minor, op. 22 PET; INT
l 1st and 2nd movements
l 2nd and 3rd movements
List A
Concertos and Fantasias
List B
Sonatas
Bruch, Max
Concerto in D Minor, op. 44, no. 2 FIS
l 1st and 2nd movements
Scottish Fantasy in E flat Major, op. 46 SCH; INT
l 1st and 2nd movements
l 3rd and 4th movements
Beethoven, Ludwig van
Sonata in C Minor, op. 30, no. 2 HEN
l two contrasting movements
Sonata in E flat Major, op. 12, no. 3 HEN
l 1st and 2nd movements
Conus, Jules
Concerto in E Minor FIS; MAS; INT
l 1st and 2nd movements
Brahms, Johannes
Sonata in D Minor, op. 108 INT
l two contrasting movements
Dvořák, Antonín
Concerto in A Minor, op. 53 BAR; INT
l 1st and 2nd movements
l 2nd and 3rd movements
Debussy, Claude
Sonata in G Minor DUR; PET
l two contrasting movements
Lalo, Édouard
Symphonie espagnole, op. 21 HEN; SCH
l 1st and 4th movements
l 4th and 5th movements
Dvořák, Antonín
Sonata in F Major, op. 57 BAR
l two contrasting movements
Mendelssohn, Felix
Concerto in E Minor, op. 64 BAR; FIS; PET
l 1st and 2nd movements
l 2nd and 3rd movements
Fauré, Gabriel
Sonata in A Major, op. 13 HEN; SCH; INT
l two contrasting movements
Mozart, Wolfgang Amadeus
Concerto in A Major, K 219 INT; BAR
l 1st and 2nd movements
Franck, César
Sonata in A Major HEN; SCH
l two contrasting movements
Paganini, Niccolò
Concerto No. 1 in D Major, op. 6 SIM; INT
l 1st and 2nd movements
Grieg, Edvard
Sonata in G Major, op. 13 (1867) PET; FIS
l 1st and 2nd movements
Associate Diploma in Violin Performance
72
Kabalevsky, Dmitri
l Rondo, op. 69 MAS
Hindemith, Paul
l Sonata in D Major, op. 11, no. 2 OTT
l 1st and 2nd movements
Kreisler, Fritz
l Caprice viennois, op. 2 FIS
l Recitative and Scherzo caprice FIS
l Tambourin chinois, op. 3 FIS
Morawetz, Oskar
l Duo RIC
l Sonata no. 1 (1956) AEN
Mozart, Wolfgang Amadeus
Sonata in B flat Major, K 454 BAR; HEN
l two contrasting movements
Paganini, Niccolò
l Moto Perpetuo INT
Papineau-Couture, Jean
Trois Caprices PER
l two contrasting movements
Prokofiev, Sergei
Sonata in D Major, op. 94a INT
l two contrasting movements
Pentland, Barbara
l Vista BER
Respighi, Ottorino
Sonata in B Minor RIC
l two contrasting movements
Piazzolla, Astor
l Le Grand Tango BEB
Somers, Harry
Sonata No. 2 BER
l two contrasting movements
Ravel, Maurice
l Tzigane BAR; DUR
Saint-Saëns, Camille
l Havanaise, op. 83 BAR; FIS; SCH; INT
l Introduction and Rondo capriccioso, op. 28
FIS; SCH; INT
Strauss, Richard
Sonata in E flat Major, op. 18 UNI
l two contrasting movements
Stravinsky, Igor
Duo concertante B&H
l two contrasting movements
Sarasate, Pablo de
l Habañera (Danse espagnole, op. 21, no. 2) INT
l Introduction and Tarantelle, op. 43 INT
l Zapateado (Danse espagnole, op. 23, no. 2) INT; EMB
l Zigeunerweisen, op. 20 FIS; INT
Tartini, Giuseppe
Sonata G Minor (“Devil’s Trill”) Bg5 OTT; RIC
l two contrasting movements (with cadenza)
Stravinsky, Igor
Suite Italienne B&H
l 1st, 3rd, and 6th movements
Weinzweig, John
l Sonata OUP
Szymanowski, Karol
l La fontaine d’Aréthuse, op. 30, no. 1 PWM
l Nocturne and Tarentella, op. 28, no. 1 UNI; INT
List C
Concert Repertoire
Tchaikovsky, Pyotr Il’yich
l Meditation, op. 42, no. 1 FIS; INT
l Waltz–Scherzo, op. 34 INT
Andrzejowski, Umińska
l Burleska PWM
Vaughan Williams, Ralph
l The Lark Ascending OUP
Bartók, Béla
l Rhapsody No. 1 B&H
Vieuxtemps, Henri
l Rondino op. 32, no. 2 (in Masterpieces for Violin FIS)
Berlioz, Hector
l Rêverie et caprice (Romance) BAR
Wieniawski, Henryk
l Polonaise brillante in A Major, op. 21 INT; SCH
l Polonaise in D Major, op. 4 INT
l Scherzo tarantella in G Minor, op. 16 PET; FIS
Dinicu, Grigoraş
l Hora Staccato (Roumanian) (arr. Jascha Heifetz FIS)
Elgar, Edward
l La capricieuse, op. 17 FIS; BRH
Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM
Falla, Manuel de
l Danse espagnole, from La vida breve (arr. Fritz
Kreisler FIS)
73
Associate Diploma in Violin Performance
Orchestral Excerpts
List D
Unaccompanied Repertoire
Students should be prepared to play two excerpts by
different composers: one from Group 1 and one from
Group 2. Students are encouraged to listen to and become
familiar with the works from which these excerpts are
taken. The student’s ability to perform excerpts in a
manner that demonstrates an understanding of the style
and context is an important assessment criterion. For
instructions regarding the performance of chords please
see p. 11.
Bach, Johann Sebastian
Partita No. 2 in D Minor, BWV 1004 BAR; HEN
l Chaconne
Sonata No. 1 in G Minor, BWV 1001 BAR; HEN
l Fugue
Sonata No. 2 in A Minor, BWV 1003 BAR; HEN
l Fugue
Sonata No. 3 in C Major, BWV 1005 BAR; HEN
l Fugue
• All orchestral excerpts are included in Violin Series, 2013
Edition: Orchestral Excerpts FHM.
• Alternatively, students may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Gruber, H.K.
l Four Pieces for Solo Violin B&H
Hétu, Jacques
l Rondo varié pour violon seul, op. 25 DOM
l Variations, op. 11 DOM
Each bulleted item (u) represents one selection for
assessment purposes.
Paganini, Niccolò
Twenty-Four Caprices, op. 1 EMB
l one of nos. 9, 13, 14, 16, 18, 20
Group 1
Orchestral Tutti Parts (First Violin)
Prévost, André
l Improvisations I pour Violine Seul DOM
Brahms, Johannes
Symphony No. 4 in E Minor, op. 98
u
4th movement: mm. 41–80, 153–177
Ysaÿe, Eugène
Six Sonatas, op. 27 SCH
Sonata No. 1
l two contrasting movements
Sonata No. 3
l complete
Sonata No. 6
l complete
Mendelssohn, Felix
Incidental Music to A Midsummer Night’s Dream, op. 21
u
1st movement (Scherzo): mm. 17–99, 115–135
Mozart, Wolfgang Amadeus
Symphony No. 39 in E flat Major, K 54
u
1st movement: mm. 1–16, 26–90 and 4th movement:
pickup to mm. 1–78
Zarzycki, Aleksander
l Mazurka in G Major, op. 26 PWM
Prokofiev, Sergei
Symphony No. 1 (“Classical”), op. 25
u
1st movement: mm. 1–32 and 2nd movement: mm.
1–20 (beat 1) and 4th movement: mm. 1–41,
129–162
Schumann, Robert
Symphony No. 2 in C Major, op. 61
u
2nd movement (Scherzo): pickup to mm. 1–97
Shostakovich, Dmitri
Symphony No. 5, op. 47
u
1st movement: mm. 254–277 (beat 1)
Smetana, Bedřich
The Bartered Bride
u
Overture: mm. 1–14, 31–66 (beat 2), 401–421
(beat 1)
Strauss, Richard
Don Juan, op. 20
u
mm. 1–62
Associate Diploma in Violin Performance
74
Group 2
Concertmaster Solos and
Chamber Music Repertoire
Beethoven, Ludwig van
Missa solemnis, op. 123
u
Sanctus (Benedictus): mm. 110–134, 140–184
Schubert, Franz
String Quartet No. 14 in D Minor (“Death and the
Maiden”), D 810
u
1st movement: mm. 1–14, 61–114 (beat 1) and 4th
movement: mm. 687–end
Rimsky-Korsakov, Nicolai
Capriccio espagnol, op. 34
u
1st movement (Alborada): mm. 55–72 and 3rd
movement (Alborada): mm. 14–27, 41–63 and 4th
movement (Scena e canto gitano): solo cadenza and
5th movement (Fandango asturiano): mm. 25–36,
51–61
Schéhérazade, op. 35
u
1st movement: mm. 14–18, 94–102 (beat 1) and 3rd
movement: mm. 142–165 and 4th movement: mm.
8–9, 29–30 (cadenza)
Strauss, Richard
Le Bourgeois Gentilhomme Suite, op. 60
u
4th movement (Auftritt und Tanz der Schneider):
pickup to mm. 35–56, pickup to mm. 81–119
Tchaikovsky, Pyotr Il’yich
Swan Lake Suite
u
4th movement (Scène): mm. 10–34, 42–57, 65–72
Schoenberg, Arnold
Verklärte Nacht, op. 4
u
mm. 278–294, 300–318, 336–340
Teacher’s Associate Diploma
For current information on the Teacher’s Associate Diploma requirements, please visit
www.MusicDevelopmentProgram.org.
75
Associate Diploma in Violin Performance
Register for an Assessment
Login at
www.
MusicDevelopment
Program.org
to register.
Assessment Sessions and Registration Deadlines
Exact dates and deadlines can be found online. Register early to avoid disappointment.
Late registrations are subject to an additional fee and may be denied.
Winter Session—register by mid October
• performance assessments take place in December
• academic assessments take place in December
Spring Session—register by late February
• performance assessments take place in May and June
• academic assessments take place in May
All students may verify
their assessment
schedules online three
to four weeks after the
registration deadline.
Assessment schedules
will not be mailed.
Online Registration
All registrations should be submitted using the online registration process.
• visit www.MusicDevelopmentProgram.org and follow the instructions provided
• payment information—Visa or MasterCard accepted
Assessment Scheduling
Students may check for their assessment schedules online three to four weeks after the
registration deadline.
Students are asked to print the “Assessment Program Form” using the “Assessment
Scheduling” feature. The program form must be filled out by the student and/or teacher
and brought to the assessment center for presentation to the adjudicator.
Students who, for any reason, are unable to attend an assessment should contact the
Center Representative listed on their assessment schedule. The Center Representative
may be able to provide an alternate appointment time.
Register for an Assessment
76
Assessment Regulations
Assessment Procedures
Students must be ready to perform at least fifteen minutes before their scheduled time.
Please note that assessment times cannot be exchanged among students. Please contact the
Music Development Program Center Representative if you are unable to attend the
assessment at the assigned time.
• Although most assessment centers have a tune-up room, the availability of a tune-up
room cannot be guaranteed. Assessment centers do not provide facilities for rehearsal
with piano.
• Students must provide their own collaborative pianist in order for an assessment to
proceed. Recorded accompaniments are not permitted.
• Students are advised to bring an electronic tuner to the assessment. The piano
provided for the assessment will be tuned to A440.
• Adjudicators are not permitted to assist students in tuning their instruments. A
teacher or assistant should be on hand to assist students who cannot tune accurately.
• A music stand is available in most centers, but the availability of a music stand cannot
be guaranteed.
• Photo ID may be requested before students are admitted to the assessment room.
• Students are asked to list all repertoire and etudes to be performed on the Assessment
Program Form and bring it to the assessment for presentation to the adjudicator.
• Students must provide the adjudicator with an original, published copy of all music
to be performed at the assessment.
• If the student is performing with music, he or she should bring two original copies
to the assessment, one to play from and one to give to the adjudicator. Collaborative
pianists should play from an original, published copy of the score.
• Photocopied music is not permitted in the assessment room unless the student has
a letter of permission from the publisher or website. (Please see “Copyright and
Photocopying” on p. 82.)
• Recording devices and cell phones are strictly prohibited in the assessment room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Center Representative.
• Page turners and other assistants are not permitted in the assessment room. Waiting
areas are provided for parents, teachers, and assistants. Standing or listening outside
the assessment room door is prohibited.
• The student’s performance of a repertoire selection or an etude may be interrupted at
the adjudicator’s discretion once an assessment has been made.
• The examiner will choose a representative sampling of items on the technical
requirements list.
Students must provide
their own collaborative
pianist in order for
an assessment to
proceed. Recorded
accompaniments are
not permitted.
Students must provide
the adjudicator with
an original, published
copy of all music to
be performed at the
assessment.
Recording devices and
cell phones are strictly
prohibited in the
assessment room.
Credits and Refunds for Missed Assessments
Credits and refunds are only granted in two specific situations. Students who are unable
to attend an assessment for medical reasons or because of a direct time conflict with
a school examination are eligible to request either a credit for the full amount of the
assessment fee or a refund of fifty percent of the assessment fee.
77
Assessment Regulations
All requests must be
submitted by mail
or fax within two
weeks following the
assessment. Requests
received after this time
will be denied.
Students must apply in writing for credits or refunds within two weeks following the
assessment date. At least one of the following documents should accompany the Credits
and Refunds form.
• A doctor’s letter
• A letter from a school official
• A letter from a parent explaining the request for a credit or refund
Students who, for any reason, are unable to attend an assessment should contact the
Center Representative listed on their assessment schedule immediately.
Credits
A credit for the full amount of the assessment fee is valid for one year from the date of
the missed assessment. Students must use their credits within this period. Assessment
credits can be redeemed when the student registers for his or her next assessment.
The credit will be automatically applied during the online registration process at
www.MusicDevelopmentProgram.org. Please note that credits are not transferable and
may not be extended beyond one year.
Fee Refunds
Students who know at the time they are applying for a fee extension that they will not
be able to make use of a credit within the one-year time period may instead apply for a
refund of fifty percent of the assessment fee.
Requests for assessment refunds or credits must be made to the Music Development
Program in writing and be accompanied by the necessary documentation (see above).
All requests must be submitted by mail or by fax within two weeks following the scheduled
assessment date.
Students with Special Needs
The Special Needs
Request Form is
available online at
www.
MusicDevelopment
Program.org.
Please note that
results will neither be
mailed nor provided by
telephone.
Students with special needs should submit a Special Needs Request Form, by mail or by
fax, to the Music Development Program before the registration deadline. Each case will
be assessed individually.
Students may receive help in and out of the assessment room if required. Please note
that helpers must normally remain in the waiting area during the actual assessment.
Assessment Results
Students and teachers can access assessment marks online within approximately four
weeks of the assessment date. Access to complete assessment results, with comments
and marks, will be available no later than eight weeks after the assessment date.
Teachers may access their students’ assessment results by visiting
www.MusicDevelopmentProgram.org.
Official transcripts are available upon written request to the Music Development
Program and payment of the requisite fee. (The Official Transcript Request Form may
be downloaded from the website.)
Assessment Regulations
78
Interpreting Assessment Results
All students may access their complete, official results (including adjudicators’
comments) online no later than eight weeks after the assessment has taken place.
The adjudicator’s report explains how the final mark was calculated and provides
information to support students in their future musical development. The mark reflects
the adjudicator’s evaluation of the student’s performance during the assessment, which
being a live performance, cannot be reconstructed. Appeals are considered only in
the event of a serious procedural irregularity and only upon completion of the official
Appeals Process.
Classification of Marks
First Class Honors with Distinction 90–100
First Class Honors 80–89
Honors 70–79
Pass ( Preparatory and Levels 1–10)
60
Marking Criteria for Performance of Repertoire
First Class Honors with Distinction: 90–100
This standing is awarded for exceptional performances that are confident and
communicative, while demonstrating technical command, insightful awareness of style,
and convincing musical interpretation.
First Class Honors: 80–89
This standing is awarded for performances that are musically engaging, show thoughtful
preparation, and demonstrate technical security, stylistic understanding, and musical
awareness. There is quick recovery from any minor slips or brief lapses.
Honors: 70–79
This standing is awarded for performances that are generally secure and fluent, indicate
careful preparation, and reflect some awareness of style and musical understanding.
There may be occasional slips or lapses, with room for further development of technical
control and attention to musical details.
Pass: 60–69
This standing is awarded for performances that exhibit a basic level of preparation.
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack
of attention to musical details. The adjudicator’s report will identify areas that require
further study and exploration.
Fail: 50–59
The performance is a work in progress. There are many errors, slips, and stumbles
disturbing the continuity. Although some aspects of the performance may show basic
preparation, a satisfactory performance requires more consistent fluency and attention
to both musical elements and markings in the score.
Login at
www.
MusicDevelopment
Program.org
to view results online.
Marks Below 50
The performance is not yet ready for assessment due to insufficient preparation.
79
Assessment Regulations
Table of Marks
Repertoire
List A
List B
List C
Levels
Prep–1
Levels
2
60
27
27
60
27
27
–
60
18
18
18
60
17
20
17
60
17
20
17
Associate Diploma
in Violin
Performance
50
50
50 (35) 80
15 (1.5) 15 (1.5) 15 (1.5) 20 (2)
20
15
15
20
15 (1.5) 10 (1) 10 (1) 20 (2)
–
–
–
–
–
10 (1)
10 (1)
20 (2)
6
(3+3)
_
6
(3+3)
_
6
6
(2+2+2) (3+3)
_
_
6
(3+3)
_
–
–
–
–
10
10
10 (7)
20
List D
Memory
Levels
3–4
Level
5
Level
6
Level
7
Levels
8–9
Level
10
Orchestral
Excerpts
Technical
Requirements
Etudes
30
30
20
20
20
20
20
20 (14) –
15
15
10
10
10
8
8
8
–
Technical Tests
15
15
10
10
10
12
12
12
–
Aural skills
10
10
10
10
10
10
10
10 (7)
Clapback
Intervals
Chords
Cadences
Playback
Reading skills
Playing
Clapping
TOTALS
5
–
–
–
5
–
–
–
100
3
3
–
–
4
–
–
–
100
3
3
–
–
4
10
7
3
100
3
3
–
–
4
10
7
3
100
2
3
2
–
3
10
7
3
100
2
3
2
–
3
10
7
3
100
–
3
2
2
3
10
7
3
100
–
2
2
3
3
10 (7)
7
3
100
–
–
–
–
–
–
–
–
100
• The figures in parentheses for Lists A, C, and D indicate the marks that will be
deducted for selections that are not memorized.
• Figures in bold parentheses indicate the minimum number of marks required to
receive 70 percent.
• To qualify for the Associate Diploma assessment, Level 10 students must achieve
either an overall mark of 75 or a minimum of 70 percent in each section of
the assessment. (In the “Table of Marks,” 70-percent figures are given in bold
parentheses.)
• Students for the Associate Diploma in Violin Performance must achieve an overall
mark of 70 percent in order to pass.
Assessment Regulations
80
Supplemental Assessments
Improve an Assessment Mark
Students seeking to improve their overall mark at Level 10 may take one or more
Supplemental Assessments.
• Supplemental Assessments must be taken within two years of the original
assessment.
• Supplemental Assessments are given during regular assessment sessions.
• Students in Level 10 may repeat any two sections of a performance assessment:
Repertoire, Orchestral Excerpts, Technical Requirements, Aural skills, or Reading skills.
• To be eligible for a Supplemental Assessment in Level 10, students must achieve a
minimum mark of 65 percent overall.
Split Level 10 Performance Assessments
Students in Level 10
must complete the
Level 10 academic corequisites within five
years of the original
performance assessment,
not any subsequent
supplemental
assessments.
Beginning in the 2013–14 academic year, students may choose to take the Level 10
Violin assessment in two separate segments: one consisting entirely of Repertoire; the
other consisting of Technical Requirements, including Etudes and Technical Tests, as
well as Aural Skills, Reading Skills, and Orchestral Excerpts. The division of material
in the split Level 10 assessment cannot be altered. However, students may choose which
segment to take first.
Students for the split Level 10 assessment must complete all performance assessment
requirements within two years of the initial assessment segment. Students for the split
Level 10 assessment may schedule their assessments within the same session or in
different sessions; however, both segments of the split Level 10 assessment and any
supplemental assessments must be completed within the two-year period. Students
who choose the split format must complete both segments before registering for any
supplemental assessments. All academic co-requisites for the Level 10 assessment must
be completed within five years of the initial Level 10 performance assessment segment.
Only students who take the complete Level 10 assessment (without the split) will be
eligible to receive a state and/or center Certificate of Excellence.
Performance Assessment Certificates
Certificates are awarded to students who successfully complete the requirements for
their Level.
Beginning in Level 5, Comprehensive Achievement Certificates are awarded after the
academic co-requisites for that Level have been successfully completed. Academic corequisites must be completed within five years of the original performance assessment.
Certificates of Excellence
Center Certificates of Excellence are awarded in each Assessment Center to the student
in Preparatory A, Preparatory B, and Levels 1 to 10 who receives the highest marks
for the respective Performance Assessment. To be eligible, a student must receive
a minimum of 80 percent in the Performance Assessment and have completed the
Academic (Theory) Assessment co-requisite(s) for the respective level.
State Certificates of Excellence are awarded in each State to the student in Preparatory
A, Preparatory B, and Levels 1 to 10 who receives the highest marks for the respective
Performance Assessment. To be eligible, a student must receive a minimum of 80
percent in the Performance Assessment and have completed the Academic (Theory)
Assessment co-requisite(s) for the respective level.
Please note that
Associate Diplomas
are awarded to
students at the annual
Convocation ceremony.
Medals
Each academic year (September to August) medals are awarded to the students who
achieve exceptional assessment results. No application is required.
81
Assessment Regulations
School Credits
In many school systems, assessments from the Music Development Program are
accepted as credits toward secondary school graduation diplomas. A state-by-state list of
secondary school accreditation for music assessments can be found at
www.MusicDevelopmentProgram.org. Students are also advised to consult their school
principal or guidance counselor about the eligibility of assessments from the Music
Development Program for secondary school credit and college entrance.
Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by
an assigned publisher abbreviation). These editions have been chosen for their quality
and for their availability in North America.
The Music Development Program strongly encourages the use of modern editions. These
editions benefit from current scholarship and provide a reliable basis for study and
performance. However, if a student has purchased an online edition or downloaded a
free edition which is in the public domain, they must provide either proof of payment,
in the case of purchased editions, or proof of legal, free download, in the case of online
editions in the public domain. Fingering, bowing, and other editorial markings vary from edition to edition.
Assessment marks will not be deducted for altering these editorial suggestions as long as
the resulting change is musically acceptable.
Availability
The Music Development Program has made every effort to ensure that the materials
listed in the Violin Syllabus, 2013 Edition are in print and available at leading music
retailers throughout North America. If you experience difficulty in obtaining violin
music in your community, you may visit www.frederickharrismusic.com to find a listing
of additional music retailers near you.
Anthologies and Collections
If a repertoire selection is published in a collection of a composer’s music or in an anthology
containing music by a number of composers, the title of the collection or anthology is
usually included in the Syllabus listing. Individual selections may also be found in other
sources. In order to save space, the words “volume” and “book” have usually been omitted; a
number following a title indicates the number of the volume, book, or set number in which a
selection can be found (for example, Suzuki Violin School, Revised Edition, 2).
The Violin Series, 2013 Edition
Please note that
photocopied music
will not be permitted
in the assessment
room. Students who
bring unauthorized
photocopies to the
assessment will not be
examined.
In order to ensure the ready availability of high-quality assessment materials, Frederick
Harris Music has published the Violin Series, 2013 Edition. This series includes nine
volumes of Violin Repertoire (Preparatory–Level 8) with compact discs; two volumes of
Violin Technique and Etudes (Preparatory–4; Levels 5–8), and one volume of Orchestral
Excerpts (Levels 7–Associate Diploma).
Copyright and Photocopying
Federal and international copyright laws prohibit the use of photocopies without
the permission of the publisher or website. The use of unauthorized photocopies for
assessment purposes constitutes copyright infringement as outlined in Title 17 of the
United States Code. Additional information about federal copyright law is available
online through the US Copyright Office at www.copyright.gov.
Students should bring all music to be performed to the assessment. Students who wish
to photocopy one page of a selection to facilitate a page turn must do so with permission
from the publisher.
With this notice, Frederick Harris Music grants permission to festival, recital, and assessment
participants to photocopy single pages from its publications to facilitate a page turn.
Assessment Regulations
82
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Violin Syllabus,
2013 Edition. When no publisher or edition is indicated for a specific piece, the work
is available in several standard editions. For more information, please see “Assessment
Repertoire” on p. 9.
ABR
Associated Board of the Royal
Schools of Music
AEN
Aeneas Press
ALF
Alfred Publishing Co., Inc.
AUG
Augener & Co.
B&H Boosey & Hawkes
B&V
Broekmans & Van Poppel
BARBärenreiter
BEB
Bèrben Edizioni Musicali
BER
Berandol Music
BIL
G. Billaudot
BMC
Boston Music Company (Music
Sales)
BOS
Bosworth (Music Sales)
BRH
Breitkopf & Härtel
BUT
Edition Butorac
CAN
Cantus Music
CHA
Chappell & Co., Inc. (Alfred)
CHD Children’s Music Series
CHS
Chester Music Ltd.
COM Éditions Combre
DHM DeHaske Music Publishing
DOM Les Éditions Doberman-Yppan
DUR
Durand et Cie
ELK
Elkin Co. Music Publishers
EMA
European Music Archive
(Spartan Press)
EMB
Editio Musica Budapest
EVO
Evocation Publishing
FAB
Faber Music Ltd.
FHM The Frederick Harris Music Co.,
Limited
FIS
Carl Fischer Music
FRB Francesco Bongiovanni
GIV Givens Violinland
GVT
Gordon V. Thompson Music
(Alfred)
HAL
Hal Leonard Corporation
HEN
G. Henle Verlag
IMS
IMSLP Petrucci Music Library
IND
École Vincent d’Indy
INT
International Music
KAL
Edwin F. Kalmus
KJO
Neil A. Kjos Music Company
KMA Kevin Mayhew
LEE
Leeds Music (Canada)
LIM
Lime Green Music
MAS
Masters Music Publications
MPB
M.P. Belaieff
MUZ Muzyka Moscow
NOVNovello
OSSOssian
OTT Schott Music GmbH
OUP
Oxford University Press
PER Peer International
PET
Edition Peters
PRE
Theodore Presser Company
PWM Polskie Wydawnictwo Muzyczne
RIC
G. Ricordi
S&B
Stainer & Bell
SCH
G. Schirmer Inc.
SIKSikorski
SIM
N. Simrock Publishers
UMP
United Music Publishers
UNI
Universal Edition Inc.
WAR Warner Bros. Publications
WAT
Waterloo Music Co. (Mayfair)
WIL
Willis Music
ZANZanibon
ZIM
Musikverlag Zimmerman
Frankfurt
Other Abbreviations and
Symbols
arr.
arranged by
attr.
attributed to
ed.
edited by
m., mm. measure (s)
no.number
op.opus
p., pp. page(s)
rev.revised
trans. translated by
transc. transcribed by
vol.volume
represents one selection for assessment
purposes
u selection is published in Violin Series,
2013 Edition FHM
l
83
Assessment Regulations
Thematic Catalogs
Opus Numbers and Catalog Numbers
Opus (op.) is a term used with a number to designate the position of a given work in the
chronological sequence of works by the composer. However, these numbers are often an
unreliable guide, and may have been assigned by a publisher rather than the composer.
Sometimes a single work will have conflicting opus numbers. Works in certain genres,
such as operas and other vocal works, were not always assigned opus numbers. For
these reasons, individual works by a number of composers are identified by numbers
assigned in scholarly thematic catalogs. A number of the more important thematic
catalogs are listed below.
Johann Sebastian Bach
Works by J.S. Bach are identified by BWV numbers (for example, Partita No. 2 in D
Minor, BWV 1004). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title
of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian
Bach (Leipzig, 1950), a thematic catalog of Bach’s complete works originally compiled by
the German music librarian Wolfgang Schmieder.
George Frideric Handel
Works by George Frideric Handel are identified by HWV numbers (for example, Sonata
No. 2 in G Minor, HWV 368). HWV is an abbreviation for Handel Werke Verzeichnis. The
full title for this thematic catalog, compiled by Margaret and Walter Eisen, is HändelHandbuch, gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986).
Franz Joseph Haydn
Works by Haydn are identified by Hoboken numbers (for example, String Quartet in C
Major (“The Bird”), Hob. III:39). Anthony van Hoboken was a Dutch musicologist. His
thematic catalog, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B.
Schott, 1957–1971) divides Haydn’s works into a number of categories that are indicated
by Roman numerals.
Wolfgang Amadeus Mozart
Works by Mozart are identified by K numbers (for example, Symphony No. 25 in G
Minor, K 183). “K” stands for Köchel Verzeichnis, first published in 1862. Ludwig
Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted
his retirement years to collecting all the known works by Mozart. He created a
chronological catalog in which these works are listed and numbered.
Franz Schubert
Works by Schubert are identified by Deutsch numbers (for example, String Quartet No.
14 in D Minor (“Death and the Maiden”), D 810). These numbers were assigned by Otto
Erich Deutsch (1883–1967) in his thematic catalog of Schubert’s works, Thematisches
Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII, Bd. 4,
Kassell, 1978).
Georg Philipp Telemann
Works by Telemann are identified by TWV numbers (for example, Sonata in F Major,
TWV41:F1). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic
catalog—Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis
(Kassel: Bärenreiter, 1984)—was compiled by Martin Runke.
Assessment Regulations
84
Antonio Vivaldi
Works by Vivaldi are identified by RV numbers and/or by F numbers (for example,
Concerto in A Minor, op. 3, no. 6, RV 356/F I:176). RV is an abbreviation for Ryom
Verzeichnis. This thematic catalog of Vivaldi’s works—Verzeichnis der Werke Antonio
Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974, 2nd ed. 1979)
was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in
Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la
catalogazione Fanna (Milan, 1986).
Anhang
Some catalog numbers include the prefix Anh. (for example, Notenbuch der Anna
Magdalena Bach, BWV Anh. 114). Anh. is an abbreviation for Anhang, a German word
meaning appendix or supplement.
WoO
Some catalog numbers include the prefix WoO (for example, Sechs Menuette,
WoO 10 by Ludwig van Beethoven). WoO is an abbreviation for Werk ohne Opuszahl
(work without opus number). These numbers are used to designate works for which the
composer did not assign an opus number.
85
Assessment Regulations
Resources
The following texts are useful for reference, teaching, and assessment preparation. No
single text is necessarily complete for assessment purposes, but these recommended
reading and resource lists are an indispensable source of:
• teaching tips for all ages and abilities
• tips for interpretation of repertoire
• tools for better sight reading
• advice on fostering talent in young people
• supplemental teaching materials to support and enhance the syllabus
General Resources
Violin Series, 2013 Edition
Violin Series, 2013 Edition: Violin Repertoire. 9 vols. (Preparatory–Level 8) with compact
discs. Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Violin Technique and Etudes. 2 vols. (Preparatory–4; 5–8).
Toronto, ON: The Frederick Harris Music Co., Limited, 2013.
Violin Series, 2013 Edition: Orchestral Excerpts (Levels 7–Associate Diploma). Toronto, ON:
The Frederick Harris Music Co., Limited, 2013.
Reading skills and Aural skills
Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1–Associate Diploma). Toronto, ON: The Frederick
Harris Music Co., Limited, 1986–1988.
———. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels
1–7). Toronto, ON: The Frederick Harris Music Co., Limited, 1989–1991.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 1–8)
(Online audio tracks at www.soundadvicedirect.com.) Toronto, ON: The Frederick
Harris Music Co., Limited, 2005–2006.
Harris, Paul. Improve your Sight-reading skills! A Workbook for Examinations. London:
Faber, 1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Kember, John, Roger Smith, and Marguerite Wilkinson. Violin Sight-Reading. 2 vols.
Mainz, Schott, 2006–2007.
Martin, Joanne. I Can Read Music: A Note-reading Book for Violin Students. 2 vols. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1991, 1997.
Nelson, Sheila. Flip-A-Rhythm. 2 vols. London: Boosey & Hawkes, 1995.
Schlosar, Carol. Comprehensive Ear Training, Professional Series 10 vols. (Levels 1–
Associate Diploma ) (Book with CD). Toronto, ON: The Frederick Harris Music Co.,
Limited. First published Sicamous, BC: Keystroke Publishing, 1993.
———. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1−Associate
Diploma). Toronto, ON: The Frederick Harris Music Co., Limited. First published
Sicamous, BC: Keystroke Publishing, 1998.
Official Assessment Papers
The Royal Conservatory Official Assessment Papers. 15 vols. Toronto, ON: The Frederick
Harris Music Co., Limited, published annually.
Basic Rudiments; Intermediate Rudiments; Advanced Rudiments
Introductory Harmony; Basic Harmony; Intermediate Harmony; Advanced Harmony
Basic Keyboard Harmony; Intermediate Keyboard Harmony; Advanced Keyboard
Harmony
Counterpoint
Analysis
History 1: An Overview; History 2: Middle Ages to Classical; History 3: 19th Century to
Present
Resources
86
General Reference Works
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music.
8th ed. New York: Norton, 2009.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated
Musician’s Press, 1999.
Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday,
1986.
Horvath, Janet Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee,
WI: Hal Leonard, 2010.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in
Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online
at www.thecanadianencyclopedia.com.)
Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press,
2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York:
Norton, 2011.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without
Pain. Lanham, MD: Scarecrow Press, 1997.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of
Harvard University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London:
Macmillan, 1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians.
2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.)
Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA:
McGraw-Hill, 1998.
Violin Resources
Etudes and Technique
Barber, Barbara. Scales for Advanced Violinists. Van Nuys, CA: Alfred Publishing Co., Inc.,
2005.
Bauer, John. Progressive Scale Studies for Violin. Pacific, MO: Mel Bay, 1998.
Bériot, Charles-Auguste de. The First Thirty Concert Studies for the Violin, op. 123. New
York: G. Schirmer, 1939, 1967.
Cohen, Mary. Scaley Monsters. London: Faber Music, 1994.
Dancla, Charles. Thirty-six Melodious and Easy Studies, op. 84. Mainz: Schott, 2011.
———. 20 Études brillantes et caractéristiques, op. 73. Budapest: Editio Musica Budapest,
1980.
de Keyser, Paul.
———. Violin Study Time. London: Faber Music, 1988.
Dont, Jacob. Thirty Progressive Exercises for the Violin (With Accompaniment of a Second
Violin), op. 38. New York: G. Schirmer, 1967.
Dounis, Demetrius. The Dounis Collection: Eleven Books of Studies for the Violin. New York:
Carl Fischer, 2005.
Flesch, Carl. Scale System. New York: Carl Fischer, 1926.
Galamian, Ivan. Contemporary Violin Technique. 2 vols. New York: Galaxy Music Corp.,
1966.
Gaviniès, Pierre. 24 études (matinées). Peters; New York: International Music, 1963.
Harris, Paul. Improve Your Scales! 4 vols. London: Faber Music, 1996.
Hrimaly, Jan. Scale Studies for Violin. New York: G. Schirmer, 1986.
Locatelli, Pietro. The Art of the Violin: 24 Caprices for Solo Violin, op. 3. Milan: Ricordi,
1920.
87
Resources
Minsky, Aaron. Ten American Violin Etudes. Oxford: Oxford University Press, 2011.
O’Reilly, Sally. Fiddle Magic: 180 Technical Exercises for Violin. San Diego, CA: Neil A. Kjos
Music Company, 1991.
———. String Rhythms. San Diego, CA: Neil A. Kjos Music Company, 1992.
Sassmannshaus, Kurt. Early Start on the Violin. 4 vols. Kassel: Bärenreiter: 2008.
Schradieck, Henry. School of Violin Technique. 4 vols. New York: G. Schirmer, 1928.
Ševčík Otakar. Analytical Studies and Exercises, opp. 16–21. 6 vols. Lauren Keiser Music
Publishing, 2012.
———. School of Bowing Technique, op. 2. 6 vols. London: Bosworth, 1901.
———. School of Violin Technique, op. 1. 4 vols. London: Bosworth, 1901.
———. Violin Studies: Changes of Position and Preparatory Scale Exercises, op. 8. London:
Bosworth, 1901.
———. Violin Studies: Preparatory Studies in Double-Stopping, op. 9. London: Bosworth,
1901.
———. Violin Studies: Preparatory Trill Studies, op. 7. 2 vols. London: Bosworth, 1901.
Skelton, Robert. The Complete Violin Technique Book. Toronto, ON: The Frederick Harris
Music Co., Limited, 1998.
Suzuki, Shinichi. Position Etudes, Revised Edition. Van Nuys, CA: Alfred Publishing Co.,
Inc. First published Miami, FL: Summy-Birchard, 1973.
———. Tonalization. Van Nuys, CA: Alfred Publishing Co., Inc. First published Miami,
FL: Summy-Birchard, 1955.
Tartini, Giuseppe. The Art of Bowing for the Violin. Facsimile reprint. New York: G.
Schirmer, 1909, 1967.
Wieniawski, Henryk. Etudes-Caprices, op. 10. New York: International Music, 1973.
———. Etudes-Caprices, op. 18. New York: International Music, 1974.
Whistler, Harvey S. Introducing the Positions. 2 vols. Chicago, IL: Rubank Publications,
1944–1946.
Orchestral Excerpts
Adey, Christopher. Orchestral Performance. London: Faber and Faber, 1998.
Bach, Johann Sebastian. Violin Solos from the Sacred Cantatas, Masses, Passions and
Oratorios. Ed. Martin Wolfhurst. Kassel: Bärenreiter, 1996.
Boerries, Karin. Test Pieces for Orchestral Auditions. 2 vols. Mainz: Schott, 1994.
Gingold, Josef, ed. Orchestral Excerpts from the Symphonic Repertoire. 3 vols. New York:
International, 1953–1962.
Green, Elizabeth A.H. Orchestral Bowings and Routines. American String Teachers
Association, 1957. Distributed by Alfred Publishing Co., Inc., 2010.
Strauss, Richard. Orchestral Excerpts from Symphonic Works: For Violin. Ed. Prill. New
York: International, 1944.
Wulfhurst, Martin. The Orchestral Violinist’s Companion. 2 vols. Barenreiter, 2012.
The Orchestral Musician’s CD-ROM Library. 10 vols. CD Sheet Music, 2007.
Violin Reference Works
Arditti, Irvine and Robert Platz. The Techniques of Violin Playing. Barenreiter, 2012.
Auer, Leopold. Violin Master Works and Their Interpretation. London: Dover, 2012.
———. Violin Playing As I Teach It. London: Gerald Duckworth, 1921, 1960, 1980.
Bachmann, Alberto A. An Encyclopedia of the Violin. New York: D. Appleton, 1929, 1937,
1975; London: Dover, 2008.
Baillot, Pierre. The Art of the Violin. Trans. Louise Goldberg. Evanston, IL: Northwestern
University Press, 1991.
Barber, Barbara. Fingerboard Geography for Violin. Van Nuys, CA: Alfred Publishing Co.,
Inc., 2008.
Barrett, Carolyn M. The Magic of Matsumoto: The Suzuki Method of Education. Palm
Springs, CA: ETC Publications, 1995.
Berman, Joel, Barbara Jackson, and Kenneth Sarch. Dictionary of Bowing and Pizzicato
Terms. 4th ed. American String Teachers Association, 1957. Distributed by Alfred
Publishing Co., Inc., 2010.
Resources
88
Boyden, David Dodge. History of Violin Playing from its Origins to 1761. London: Oxford
University Press, 1965, 1975; Oxford: Clarendon Press, 1990.
———, et al. The New Grove Violin Family. New York, W.W. Norton and Co., 1989.
Cook, Clifford A. Suzuki Education in Action. New York: Exposition Press, 1970.
Courvoisier, Karl. The Technique of Violin Playing: The Joachim Method. London: Dover,
2006.
Donington, Robert. String Playing in Baroque Music. London: Faber and Faber, 1977.
Fischer, Simon. Basics: 300 Exercises & Practice Routines for the Violin. London: Peters
Edition Limited, 1997.
———. Practice: 250 Step-by-step Practice Methods for the Violin. London: Peters Edition
Limited, 2004.
———. Scales: Scales and Scale Studies for the Violin. London: Peters Edition Limited,
2012.
Flesch, Carl. The Art of Violin Playing. 2 vols. Trans. and ed. Eric Rosenblith. New York:
Carl Fischer, 2000.
Galamian, Ivan. Principles of Violin Playing and Teaching. 3rd ed. Ann Arbor, MI: Shar
Products, 1999; London: Dover, 2013.
Gerle, Robert. The Art of Practising the Violin. London: Stainer & Bell, Ltd., 1983, 1985.
Goldberg, Milton. The Violin Column. Boulder, CO: Suzuki Association of the Americas,
1984.
Havas, Kató. A New Approach to Violin Playing. London: Bosworth, 1961, 1970.
———. The Twelve Lesson Course in a New Approach to Violin Playing. London: Bosworth,
1964.
Hermann, Evelyn. Shinichi Suzuki: The Man and His Life. Rev. ed. Miami, FL: SummyBirchard, 1995.
Kendall, John. The Suzuki Violin Method in American Music Education. Rev. ed. Miami, FL:
Summy-Birchard, 1985.
Kolneder, Walter. The Amadeus Book of the Violin: Construction, History, and Music. Trans.
and ed. Reinhard G. Pauly. Portland, OR: Amadeus Press, 1972, 1998, 2003.
Kreitman, Edward. Teaching From the Balance Point: A Guide for Suzuki Parents, Teachers,
and Students. Western Springs, IL: Western Springs School of Talent Education,
1998.
Loft, Abram. Violin and Keyboard: the Duo Repertoire: from the 17th Century to Mozart. 2
vols. Portland, OR: Amadeus Press, 2003.
Martens, Frederick H. Violin Mastery: Interviews with Heifetz, Auer, Kreisler and Others.
London: Dover, 2006.
Menuhin, Yehudi. Violin: Six Lessons with Yehudi Menuhin. London: Faber Music, 1971,
1981.
Mozart, Leopold. Treatise of the Fundamental Principles of Violin Playing. Trans. Editha
Knocker. 2nd ed. Oxford: Oxford University Press, 1951, 1985.
Pernecky, Jack M. Teaching the Fundamentals of Violin Playing. Ed. Lorraine Fink. Van
Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard,
1998.
Rapoport, Katharine. Violin for Dummies. 2nd ed. Toronto, ON: Wiley, 2012.
Rolland, Paul. Basic Principles of Violin Playing. American String Teachers Association,
1959. Distributed by Alfred Publishing Co., Inc., 2010.
———. The Teaching of Action in String Playing. Urbana, IL: Illinois String Research
Associates, 1974, 2000.
Rosenblith, Eric. Ah, You Play the Violin…: Thoughts along the Path to Musical Artistry. New
York: Carl Fischer, 2010.
Starr, William, ed. The Suzuki Violinist. Knoxville, TN: Kingston Ellis Press, 1976.
Stowell, Robin. The Cambridge Companion to the Violin. Cambridge: Cambridge University
Press, 1992.
Suzuki, Shinichi. Ability Development From Age Zero. Miami, FL: Summy-Birchard, 1981.
———. Man and Talent: Search into the Unknown. Ann Arbor, MI: Shar Products, 1990.
———. Nurtured By Love: A New Approach to Education. Miami, FL: Summy-Birchard,
1983.
———. Where Love Is Deep: The Writings of Shinichi Suzuki. St. Louis, MO: Talent
Education Journal Press, 1982.
89
Resources
———. Young Children’s Talent Education and Its Method. Trans. Kyoko Selden. Miami, FL:
Summy-Birchard, 1996.
Szende, Ottó and Mihály Nemessuri. The Physiology of Violin Playing. London: Collet’s,
1971.
Szigeti, Joseph. Szigeti on the Violin. London: Dover, 1969, 1979.
———. A Violinist’s Notebook. London: Gerald Duckworth, 1964.
Timmerman, Craig. Journey Down the Kreisler Highway: Reflections on the Teachings of
Shinichi Suzuki. Memphis, TN: Ivory Palaces Music, 1987.
Yampolsky, I.M. The Principles of Violin Fingering. London: Oxford University Press, 1967,
1984.
Web Resources
American String Teachers Association (ASTA): www.astaweb.com
Mimi Zweig String Pedagogy: www.stringpedagogy.com
Music Teachers National Association (MTNA): www.mtna.org
National Association for Music Education (NAfME): www.nafme.org
The Sassmannshaus Tradition for Violin Playing: www.violinmasterclass.com
Suzuki Association of the Americas: www.suzukiassociation.org
The Violin Community: www.violinist.com
Violin Excerpts: www.violinexcerpts.com
The Violin Lab: www.violinlab.com
Violin Online: www.violinonline.com
Violinist in Balance: www.violinistinbalance.nl
Resources
90
Performance Assessment
Day Checklist
for Students
Before You Leave Home
____ Plan to arrive 15 minutes early.
____ Complete your Assessment Program Form.
____ Bring original copies of all the music being performed in the assessment.
____ Mark the pieces being performed with a paper clip or a “sticky note.”
____ Bring an additional copy of any repertoire you are not performing from memory.
Points to Remember
•
•
•
•
Photo ID may be requested before a student is admitted to the assessment room.
Photocopied music is prohibited unless authorized by the publisher.
Recording devices are strictly prohibited in the assessment room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the center representative.
• Parents, other family members, friends, and teachers must wait in the designated waiting area.
• Standing and listening outside the assessment room door is prohibited.
• The performance of repertoire may be interrupted by the adjudicator when an
assessment has been made.
What to Expect from a Violin Assessment
• A friendly, professional atmosphere.
• The undivided attention of an adjudicator.
• An objective assessment of your performance of repertoire, etudes, technique, aural
skills, and reading skills.
• The adjudicator’s written evaluation online within eight weeks of the assessment.
After the Assessment
Access your assessment marks and adjudicator comments through the
“Assessment Results” link on the Music Development Program website (www.
MusicDevelopmentProgram.org) approximately eight weeks after the assessment.
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Checklist for Students